View source for Punk rock

{{Short description|Genre of rock music}}
{{other uses}}
{{Use mdy dates|date=October 2024}}
{{Infobox music genre
| name              = Punk rock
| other_names       = Punk
| image             = 
| caption           = 
| stylistic_origins = {{hlist|[[Garage rock]]|[[proto-punk]]|[[rock and roll]]|[[rockabilly]]|[[glam rock]]|[[Pub rock (United Kingdom)|pub rock]]|[[surf music]]}}
| cultural_origins  = Mid-1970s, United States, United Kingdom, and Australia
| derivatives       = {{hlist|[[Alternative rock]]|[[pop-punk]]|[[New wave music|new wave]]|[[indie rock]]|[[industrial music|industrial]]|[[no wave]]|[[noise rock]]|[[new wave of British heavy metal|NWOBHM]]|[[speed metal]]|[[thrash metal]]|[[post-punk]]|[[glam punk]]}}
| subgenrelist      = Punk rock subgenres
| subgenres         = {{hlist|[[Anarcho-punk]]|[[art punk]]|[[hardcore punk]]|[[horror punk]]|[[Oi!]]|[[pop-punk]]|[[post-hardcore]]|[[queercore]]|[[riot grrrl]]|[[skate punk]]|[[street punk]]}}
| fusiongenres      = {{hlist|[[2 Tone (music genre)|2 Tone]]|[[anti-folk]]|[[cowpunk]]|[[dance-punk]]|[[deathrock]]|[[folk punk]]|[[surf punk (music genre)|surf punk]]|[[garage punk (fusion genre)|garage punk]]|[[grebo (music)|grebo]]|[[grunge]]<ref name="allmusic grunge">{{cite web |url=http://www.allmusic.com/style/grunge-ma0000002626 |title=Grunge |access-date=August 24, 2012 |website=[[AllMusic]] |archive-date=January 18, 2017 |archive-url=https://web.archive.org/web/20170118220936/http://www.allmusic.com/style/grunge-ma0000002626 |url-status=live }}</ref>|[[Gypsy punk]]|[[pop-punk]]|[[psychobilly]]|[[punk blues]]|[[punk jazz]]|[[ska punk]]|[[punk rap]]}}
| regional_scenes   = {{hlist|[[Punk rock in Australia|Australia]]|[[Basque Radical Rock|Basque Country]]|[[Punk in Brazil|Brazil]]|[[Punk rock in California|California]]|[[Los Frikis|Cuba]]|[[Canadian punk rock|Canada]]|[[French punk|France]]|[[German punk|Germany]]|[[Dutch Punk|Netherlands]]|[[Peru punk|Peru]]|[[Philadelphia punk scene|Philadelphia]]|[[Scottish Gaelic punk|Scotland]]|[[Punk rock in Spain|Spain]]|[[Punk rock in Yugoslavia|Yugoslavia]]|[[Greek punk|Greece]]}}
| local_scenes      = {{hlist|[[Popular music of Birmingham#Punk rock|Birmingham]]|[[Brisbane punk rock|Brisbane]]|[[Music in Leeds#Punk rock|Leeds]]|[[Music of New York City#Proto punk, new wave and no wave|New York City]]}}
| other_topics      = {{hlist|[[DIY ethic]]|[[list of punk rock bands, 0–K|list of bands, 0–K]]|[[list of punk rock bands, L–Z|list of bands, L–Z]]|[[list of punk rock festivals|list of festivals]]|[[punk fashion]]|[[History of the punk subculture]]|[[punk subculture]]|[[punk zine]]|[[timeline of punk rock|timeline]]|[[heavy metal music|heavy metal]]}}
}}
{{Anarchism sidebar}}

'''Punk rock''' (also known as simply '''punk''') is a [[rock music]] genre that emerged in the mid-1970s. Rooted in 1950s [[rock and roll]]<ref>{{Cite web |title=A Short History of How Punk Became Punk: From Late 50s Rockabilly and Garage Rock to The Ramones & Sex Pistols {{!}} Open Culture |url=https://www.openculture.com/2019/02/a-short-history-of-punk-from-late-50s-rockabilly-and-garage-rock-to-the-ramones-sex-pistols.html |access-date=2023-11-24 |language=en-US |archive-date=November 28, 2023 |archive-url=https://web.archive.org/web/20231128215441/https://www.openculture.com/2019/02/a-short-history-of-punk-from-late-50s-rockabilly-and-garage-rock-to-the-ramones-sex-pistols.html |url-status=live }}</ref><ref>{{Cite web |last=Stegall |first=Tim |date=August 16, 2021 |title=10 rockers from the '50s who influenced rock 'n' roll, punk and more |url=https://www.altpress.com/rockabilly-influence-on-punk-elvis-johnny-cash-jerry-lee-lewis/ |access-date=2023-11-24 |website=Alternative Press Magazine |language=en-US}}</ref><ref>{{Cite news |last=Palmer |first=Robert |date=April 23, 1978 |title=Punks Have Only Re 'scovered Rockabilly |language=en-US |work=The New York Times |url=https://www.nytimes.com/1978/04/23/archives/the-punks-have-only-rediscovered-rockabilly-punk-and-rockabilly.html |access-date=2023-11-24 |issn=0362-4331 |archive-date=March 15, 2024 |archive-url=https://web.archive.org/web/20240315201250/https://www.nytimes.com/1978/04/23/archives/the-punks-have-only-rediscovered-rockabilly-punk-and-rockabilly.html |url-status=live }}</ref> and 1960s [[garage rock]], punk bands rejected the corporate nature of mainstream 1970s rock music. They typically produced short, fast-paced songs with hard-edged melodies and singing styles with stripped-down instrumentation. Punk rock lyrics often explore [[anti-establishment]] and [[Anti-authoritarianism|anti-authoritarian]] themes. Punk embraces a [[DIY ethic]]; many bands self-produce recordings and distribute them through [[independent record label|independent label]]s.

The term "punk rock" was previously used by American [[Music criticism|rock critics]] in the early 1970s to describe the mid-1960s garage bands. Certain late 1960s and early 1970s Detroit acts, such as [[MC5]] and [[Iggy and the Stooges]], and other bands from elsewhere created out-of-the-mainstream music that became highly influential on what was to come. [[Glam rock]] in the UK and [[the New York Dolls]] from New York have also been cited as key influences. Between 1974 and 1976, when the genre that became known as punk was developing, prominent acts included [[Television (band)|Television]], [[Patti Smith]], [[Richard Hell and the Voidoids]], and the [[Ramones]] in New York City; [[The Saints (Australian band)|the Saints]] in [[Brisbane punk rock|Brisbane]]; the [[Sex Pistols]], [[the Clash]], and [[The Damned (band)|the Damned]] in London, and the [[Buzzcocks]] in Manchester. By late 1976, punk had become a major cultural phenomenon in the UK. It gave rise to a [[punk subculture]] that expressed youthful rebellion through distinctive [[Punk fashion|styles of clothing]], such as T-shirts with deliberately offensive graphics, leather jackets, studded or spiked bands and jewelry, safety pins, and bondage and S&M clothes.

In 1977, the influence of the music and subculture spread worldwide. It took root in a wide range of local scenes that often rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave, when new acts that had not been active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres, such as [[hardcore punk]] (e.g., [[Minor Threat]]), [[Oi!]] (e.g., [[Sham 69]]), [[street punk]] (e.g., [[the Exploited]]), and [[anarcho-punk]] (e.g., [[Crass]]), became some of the predominant modes of punk rock, while bands more similar in form to the first wave (e.g., [[X (American band)|X]], [[the Adicts]]) also flourished. Many musicians who identified with punk or were inspired by it went on to pursue other musical directions, giving rise to movements such as [[post-punk]], [[new wave music|new wave]], [[thrash metal]], and [[alternative rock]]. Following alternative rock's mainstream breakthrough in the 1990s with [[Nirvana (band)|Nirvana]], punk rock saw renewed major-label interest and mainstream appeal exemplified by the rise of the California bands [[Green Day]], [[Social Distortion]], [[Rancid (band)|Rancid]], [[the Offspring]], [[Bad Religion]], and [[NOFX]].

The anti-government stance and nihilistic impression of the future provided by capitalism united the punk scene in the 1970s in the United Kingdom as other bands emerged in the 70s and 80s like X-Ray Spex and Steel Pulse.

== Characteristics ==
{{See also|Punk subculture}}
<!-- not combined because a different direction for the reader --><!-- note deorphaning -->

===Outlook===
The first wave of punk rock was "aggressively modern" and differed from what came before.<ref name="RMB">Robb (2006), p. xi.</ref> 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 [[Jimi Hendrix|Hendrix]] started noodling away. Soon you had endless [[Guitar solo|solos]] that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll."<ref>{{cite magazine |last=Ramone |first=Tommy |title=Fight Club |magazine=[[UNCUT (magazine)|Uncut]] |date=January 2007}}</ref> [[John Holmstrom]], founding editor of ''[[Punk (magazine)|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."<ref name="MM">{{cite web |last=McLaren |first=Malcolm |url=http://news.bbc.co.uk/2/hi/entertainment/5263364.stm |title=Punk Celebrates 30 Years of Subversion |archive-url=https://web.archive.org/web/20200115073013/http://news.bbc.co.uk/2/hi/entertainment/5263364.stm |archive-date=January 15, 2020 |work=[[BBC News]] |date=August 18, 2006 |access-date=January 17, 2007}}</ref> According to [[Robert Christgau]], punk "scornfully rejected the political idealism and Californian flower-power silliness of [[hippie]] myth."<ref>{{cite news |last=Christgau |first=Robert |author-link=Robert Christgau |url=http://www.robertchristgau.com/xg/bkrev/mcneil-nyt.php |title="Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain" (review) |archive-url=https://web.archive.org/web/20191020182250/http://www.robertchristgau.com/xg/bkrev/mcneil-nyt.php |archive-date=October 20, 2019 |work=[[The New York Times]] Book Review |date=1996 |access-date=January 17, 2007}}</ref>

{{quote box|quoted=1|quote=Hippies were rainbow extremists; punks are romantics of black-and-white. Hippies forced warmth; punks cultivate [[cool (aesthetic)|cool]]. Hippies kidded themselves about [[free love]]; punks pretend that [[s&m]] is our condition. As symbols of protest, swastikas are no less fatuous than flowers.|source=—[[Robert Christgau]] in ''[[Christgau's Record Guide: Rock Albums of the Seventies|Christgau's Record Guide]]'' (1981)<ref>{{cite book |last=Christgau |first=Robert |author-link=Robert Christgau |year=1981 |title=Christgau's Record Guide: Rock Albums of the Seventies |publisher=[[Ticknor & Fields]] |isbn=978-0899190266 |chapter=Consumer Guide '70s: S |chapter-url=https://www.robertchristgau.com/get_chap.php?k=S&bk=70 |access-date=February 21, 2019|title-link=Christgau's Record Guide: Rock Albums of the Seventies |archive-date=April 13, 2019 |archive-url=https://web.archive.org/web/20190413002147/https://www.robertchristgau.com/get_chap.php?k=S&bk=70 |url-status=live}}</ref>|width=20%|align=right|style=padding:8px;}}

Technical accessibility and a [[do it yourself]] (DIY) spirit are prized in punk rock. [[UK pub rock]] from 1972 to 1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play.<ref name="Laing, Dave 2015. p. 18">{{cite book |last=Laing |first=Dave |title=One Chord Wonders: Power and Meaning in Punk Rock |publisher=[[PM Press]] |date=2015 |page=18}}</ref> Pub rock also introduced the idea of [[independent record label]]s, such as [[Stiff Records]], which put out basic, low-cost records.<ref name="Laing, Dave 2015. p. 18"/> Pub rock bands organized their own small venue tours and put out small pressings of their records. In the early days of punk rock, this DIY 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.<ref>Rodel (2004), p. 237; Bennett (2001), pp. 49–50.</ref> Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have very many skills as musicians but still felt the need to express themselves through music".<ref name="MM"/> 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".<ref>Savage (1992), pp. 280–281, including reproduction of the original image. Several sources incorrectly ascribe the illustration to the leading fanzine of the London punk scene, ''[[Sniffin' Glue]]'' (e.g., Wells [2004], p. 5; Sabin [1999], p. 111). Robb (2006) ascribes it to [[the Stranglers]]' in-house fanzine, ''Strangled'' (p. 311).</ref>

British punk rejected contemporary mainstream rock, the broader culture it represented, and their musical predecessors: "No [[Elvis Presley|Elvis]], [[The Beatles|Beatles]] or [[the Rolling Stones]] in 1977", declared [[the Clash]] song "1977".<ref>Harris (2004), p. 202.</ref> 1976, when the punk revolution began in Britain, became a musical and a cultural "Year Zero".<ref name="Reynolds p4">Reynolds (2005), p. 4.</ref> As nostalgia was discarded, many in the scene adopted a [[nihilism|nihilistic]] attitude summed up by the [[Sex Pistols]]' slogan "No Future";<ref name="RMB"/> 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."<ref>Jeffries, Stuart. "A Right Royal Knees-Up". ''The Guardian''. July 20, 2007.</ref> While "self-imposed [[social alienation|alienation]]" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism"<ref>Washburne, Christopher, and Maiken Derno. ''Bad Music''. Routledge, 2004. Page 247.</ref> 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."<ref>{{cite book |author=Kosmo Vinyl |title=The Last Testament: The Making of London Calling |publisher=Sony Music |date=2004}}</ref>

[[Authenticity (philosophy)|Authenticity]] has always been important in the punk subculture—the pejorative term "[[poseur]]" is applied to those who adopt its stylistic attributes but do not actually share or understand its 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".<ref>{{cite journal |pages=30–64 |doi=10.1353/cul.2001.0040 |title=L.A.'s 'White Minority': Punk and the Contradictions of Self-Marginalization |year=2001 |last1=Traber |first1=Daniel S. |journal=Cultural Critique |volume=48|s2cid=144067070  | issn=0882-4371}}</ref> Cultural scholars and music journalists have often attributed 'true' punk rock as a movement and cultural fad confined to western world in the 1970s and 1980s.

=== Musical and lyrical elements ===
The early punk bands emulated the minimal musical arrangements of 1960s [[garage rock]].<ref>Murphy, Peter, "Shine On, The Lights Of The Bowery: The Blank Generation Revisited", ''Hot Press'', July 12, 2002; [[Barney Hoskyns|Hoskyns, Barney]], "Richard Hell: King Punk Remembers the [ ] Generation", ''[[Rock's Backpages]]'', March 2002.</ref> Typical punk rock instrumentation is stripped down to one or two guitars, bass, drums and vocals. Songs tend to be shorter than those of other rock genres and played at fast tempos.<ref>Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 80</ref> Most early punk rock songs retained a traditional rock 'n' roll [[verse-chorus form]] and 4/4 [[time signature]]. However, later bands often broke from this format.<ref name="blush">[[Steven Blush|Blush, Steven]], "Move Over My Chemical Romance: The Dynamic Beginnings of US Punk", ''[[UNCUT (magazine)|Uncut]]'', January 2007.</ref> Punk music was not a standalone movement in the 70s and 80s. Major punk communities gather across the globe as punk perseveres among contemporary musicians and listeners today.

The vocals are sometimes nasal,<ref>Wells (2004), p. 41; Reed (2005), p. 47.</ref> and the lyrics often shouted in an "arrogant snarl", rather than conventionally sung.<ref name="S159">Shuker (2002), p. 159.</ref><ref name="laing 21">Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 21</ref> Complicated [[guitar solo]]s were considered self-indulgent, although basic guitar breaks were common.<ref>Chong, Kevin, [http://www.cbc.ca/arts/music/guitarsolos.html "The Thrill Is Gone"] {{Webarchive|url=https://web.archive.org/web/20101203054425/http://www.cbc.ca/arts/music/guitarsolos.html |date=December 3, 2010 }}, Canadian Broadcasting Corporation, August 2006. Retrieved on December 17, 2006.</ref> Guitar parts tend to include highly [[distortion pedal|distorted]] [[power chord]]s or [[barre chord]]s, creating a characteristic sound described by Christgau as a "buzzsaw drone".<ref>Quoted in {{harvp|Laing|1985|p=62}}</ref> Some punk rock bands take a [[surf music|surf rock]] approach with a lighter, twangier guitar tone. Others, such as [[Robert Quine]], lead guitarist of [[the Voidoids]], have employed a wild, "[[Gonzo journalism|gonzo]]" attack, a style that stretches back through [[the Velvet Underground]] to the 1950s recordings of [[Ike Turner]].<ref>Palmer (1992), p. 37.</ref> Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced rhythm",{{sfn|Laing|1985|p=62}} although some punk rock bass players—such as [[Mike Watt]] of [[Minutemen (band)|the Minutemen]] and [[Firehose (band)|Firehose]]—emphasize more technical bass lines. Bassists often use a [[Plectrum|pick]] due to the rapid succession of notes, making [[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.<ref>{{harvp|Laing|1985|pp=61–63}}</ref> Hardcore drumming tends to be especially fast.<ref name="S159" /> Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders{{sfn|Laing|1985|pp=118–19}} or four-track portastudios.{{sfn|Laing|1985|p=53}}

Punk rock lyrics are typically blunt and confrontational; compared to the lyrics of other popular music genres, they often focus on social and political issues.<ref>Sabin (1999), pp. 4, 226; Dalton, Stephen, "Revolution Rock", ''Vox'', June 1993. See also Laing (1985), pp. 27–32, for a statistical comparison of lyrical themes.</ref> Trend-setting songs such as the Clash's "[[Career Opportunities (song)|Career Opportunities]]" and [[Chelsea (band)|Chelsea]]'s "Right to Work" deal with unemployment and the grim realities of urban life.<ref>Laing (1985), p. 31.</ref> Especially in early British punk, a central goal was to outrage and shock the mainstream.<ref>Laing (1985), pp. 81, 125.</ref> The Sex Pistols' "[[Anarchy in the U.K.]]" and "[[God Save the Queen (Sex Pistols song)|God Save the Queen]]" openly disparaged the British political system and social mores. Anti-sentimental depictions of relationships and sex are common, as in "Love Comes in Spurts", recorded by the [[Voidoids]]. [[Anomie]], variously expressed in the poetic terms of Richard Hell's "[[Blank Generation (song)|Blank Generation]]" and the bluntness of the Ramones' "[[Now I Wanna Sniff Some Glue]]", is a common theme.<ref>Savage (1991), p. 440. See also Laing (1985), pp. 27–32.</ref> The controversial content of punk lyrics has frequently led to certain punk records being banned by radio stations and refused shelf space in major chain stores.<ref>Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 7</ref> Christgau said that "Punk is so tied up with the disillusions of growing up that punks do often age poorly."<ref>{{cite web|last=Christgau|first=Robert|date=April 14, 2021|url=https://robertchristgau.substack.com/p/xgau-sez-april-2021|title=Xgau Sez: April, 2021|work=And It Don't Stop|publisher=[[Substack]]|access-date=April 17, 2021|url-access=subscription|archive-date=April 17, 2021|archive-url=https://web.archive.org/web/20210417124959/https://robertchristgau.substack.com/p/xgau-sez-april-2021|url-status=live}}</ref>

===Visual and other elements===
{{Further|Punk fashion}}
[[File:Punk-27947.jpg|thumb|1980s punks with leather jackets and dyed mohawk hairstyles]]
The classic punk rock look among male American musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American [[Greaser (subculture)|greasers]] of the 1950s associated with the [[rockabilly]] scene and by British [[Rocker (subculture)|rockers]] of the 1960s. In addition to the T-shirt, and leather jackets they wore ripped jeans and boots, typically [[Doc Martens]]. The punk look was inspired to shock people. [[Richard Hell]]'s more androgynous, ragamuffin look—and reputed invention of the [[safety pin#Culture|safety-pin aesthetic]]—was a major influence on Sex Pistols impresario [[Malcolm McLaren]] and, in turn, British punk style.<ref name="RHV">{{cite web |author1=Isler, Scott |author2=Robbins, Ira |title=Richard Hell & the Voidoids |work=[[Trouser Press]] |url=http://www.trouserpress.com/entry.php?a=richard_hell_and_the_voidoids |access-date=2007-10-23 |archive-date=October 22, 2007 |archive-url=https://web.archive.org/web/20071022221054/http://trouserpress.com/entry.php?a=richard_hell_and_the_voidoids |url-status=live }}</ref><ref>Strongman (2008), pp. 58, 63, 64; Colegrave and Sullivan (2005), p. 78.</ref> ([[John D Morton]] of Cleveland's [[Electric Eels (band)|Electric Eels]] may have been the first rock musician to wear a safety-pin-covered jacket.)<ref>See {{cite web|author=Weldon, Michael|title=Electric Eels: Attendance Required|url=http://www.cleveland.com/music/index_story.ssf?/music/more/local/cle/2/index.html|publisher=Cleveland.com|access-date=December 19, 2010|url-status=dead|archive-url=https://web.archive.org/web/20120123003715/http://www.cleveland.com/music/index_story.ssf?%2Fmusic%2Fmore%2Flocal%2Fcle%2F2%2Findex.html|archive-date=January 23, 2012}}</ref> McLaren's partner, fashion designer [[Vivienne Westwood]], credits [[Johnny Rotten]] as the first British punk musician to rip his shirt, and Sex Pistols bassist [[Sid Vicious]] as the first to use safety pins,<ref>{{cite magazine |author=Young, Charles M. |date=October 20, 1977| title=Rock Is Sick and Living in London |magazine=Rolling Stone |url=https://www.rollingstone.com/artists/thebeatles/articles/story/9437647/sex_pistols_rock_is_sick_and_living_in_london?source=thebeatles_rssfeed |access-date=October 10, 2006|archive-url=https://web.archive.org/web/20060914225550/http://www.rollingstone.com/artists/thebeatles/articles/story/9437647/sex_pistols_rock_is_sick_and_living_in_london?source=thebeatles_rssfeed |archive-date=September 14, 2006|url-status=dead}}</ref> although few of those following punk could afford to buy McLaren and Westwood's designs so famously worn by the Pistols, so they made their own, diversifying the 'look' with various different styles based on these designs.

Young women in punk demolished the typical female types in rock of either "coy sex kittens or wronged blues belters" in their fashion.<ref>Habell-Pallan, Michelle (2012). "Death to Racism and Punk Rock Revisionism", ''Pop: When the World Falls Apart: Music in the Shadow of Doubt''. p. 247-270. Durham : Duke University Press. {{ISBN|9780822350996}}.</ref> Early female punk musicians displayed styles ranging from [[Siouxsie Sioux]]'s bondage gear to [[Patti Smith]]'s "straight-from-the-gutter androgyny".<ref name="Strohm">Strohm (2004), p. 188.</ref> The former proved much more influential on female fan styles.<ref>See, e.g., Laing (1985), "Picture Section", p. 18.</ref> Over time, tattoos, [[Body piercing|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".<ref>Wojcik (1997), p. 122.</ref> Among the other facets of the punk rock scene, a punk's hair is an important way of showing their freedom of expression.<ref name="Sklar">{{cite book|url=https://books.google.com/books?id=1bfwAAAAQBAJ|title=Punk Style|last=Sklar|first=Monica|publisher=[[Bloomsbury Publishing]]|date=2013|access-date=December 23, 2021|pages=5–6, 26–27, 37–39|isbn=9781472557339}}</ref> The typical male punk haircut was originally short and choppy; the [[Mohawk hairstyle|mohawk]] later emerged as a characteristic style.<ref>Wojcik (1995), pp. 16–19; Laing (1985), p. 109.</ref> Along with the mohawk, long spikes have been associated with the punk rock genre.<ref name="Sklar" />

== Etymology ==
Between the late 16th and the 18th centuries, punk was a common, coarse synonym for prostitute; [[William Shakespeare]] used it with that meaning in ''[[The Merry Wives of Windsor]]'' (1602) and ''[[Measure for Measure]]'' (1603–4).<ref>Dickson (1982), p. 230.</ref> The term eventually came to describe "a young male hustler, a gangster, a hoodlum, or a ruffian".<ref>Leblanc (1999), p. 35.</ref>

The first known use of the phrase "punk rock" appeared in the ''[[Chicago Tribune]]'' on March 22, 1970, when [[Ed Sanders]], co-founder of New York's anarcho-prankster band [[the Fugs]] described his first solo album as "punk rock – redneck sentimentality".<ref name="flashbak1">{{cite web |first=J.P. |last=Robinson |url=https://flashbak.com/the-story-of-punk-421670/ |title=The Story Of 'Punk' |publisher=Flashbak |date=November 30, 2019 |access-date=2022-02-25 |archive-date=February 22, 2022 |archive-url=https://web.archive.org/web/20220222221134/https://flashbak.com/the-story-of-punk-421670/ |url-status=live }}</ref><ref>Shapiro (2006), p. 492.</ref> In 1969 Sanders recorded a song for an album called "Street Punk" but it was only released in 2008.<ref name="flashbak1" /> In the December 1970 issue of [[Creem]], [[Lester Bangs]], mocking more mainstream rock musicians, ironically referred to [[Iggy Pop]] as "that Stooge punk".<ref>Bangs, Lester, "Of Pop and Pies and Fun" Archived December 17, 2007, at the Wayback Machine, Creem, December 1970. Retrieved on November 29, 2007.</ref> [[Suicide (band)|Suicide]]'s [[Alan Vega]] credits this usage with inspiring his duo to bill its gigs as "punk music" or a "punk mass" for the next couple of years.<ref>Nobahkt (2004), p. 38.</ref>

In the March 1971 issue of Creem, critic [[Greg Shaw]] wrote about the [[Shadows of Knight]]'s "hard-edge punk sound". In an April 1971 issue of ''[[Rolling Stone]]'', he referred to a track by [[the Guess Who]] as "good, not too imaginative, punk rock and roll". The same month John Medelsohn described [[Alice Cooper]]'s album ''[[Love It to Death]]'' as "nicely wrought mainstream punk raunch".<ref>{{cite web |first1=Mark |last1=Otto |first2=Jacob |last2=Thornton |others=Bootstrap contributors |url=https://www.alicecooperechive.com/articles/feature/rost/710415 |title=Rolling Stone: April 15, 1971 |publisher=Alice Cooper eChive |date=April 15, 1971 |access-date=2022-02-25 |archive-date=February 22, 2022 |archive-url=https://web.archive.org/web/20220222221134/https://www.alicecooperechive.com/articles/feature/rost/710415 |url-status=live }}</ref> [[Dave Marsh]] used the term in the May 1971 issue of ''[[Creem]]'', where he described [[Question Mark & the Mysterians|? and the Mysterians]] as giving a "landmark exposition of punk rock".<ref>Shapiro (2006), p. 492. Taylor (2003) misidentifies the year of publication as 1970 (p. 16).</ref> Later in 1971, in his fanzine ''[[Bomp!|Who Put the Bomp]]'', [[Greg Shaw]] wrote about "what I have chosen to call "punkrock" bands—white teenage hard rock of '64–66 ([[Standells]], Kingsmen, [[Shadows of Knight]], etc.)".<ref>Gendron (2002), p. 348 n. 13.</ref>{{refn|group=nb|[[Robert Christgau]] writing for the Village Voice in October 1971 refers to "mid-60s punk" as a historical period of rock-and-roll.<ref name="Christgau (60s punk)">{{cite journal |last1=Christgau |first1=Robert |author1-link=Robert Christgau |title=Consumer Guide (20) |journal=The Village Voice |date=October 14, 1971 |url=http://www.robertchristgau.com/xg/cg/cg20.php |access-date=July 23, 2016 |archive-date=September 3, 2016 |archive-url=https://web.archive.org/web/20160903214950/http://www.robertchristgau.com/xg/cg/cg20.php |url-status=live}}</ref>}} [[Lester Bangs]] used the term "punk rock" in several articles written in the early 1970s to refer to mid-1960s garage acts.{{sfn|Bangs|2003|pp=8, 56, 57, 61, 64, 101}}

In the liner notes of the 1972 anthology LP, ''[[Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968|Nuggets]]'', musician and rock journalist [[Lenny Kaye]], later a member of the Patti Smith Group, used the term "punk rock" to describe the genre of 1960s garage bands and "garage-punk", to describe a song recorded in 1966 by the Shadows of Knight.<ref name="letitrock">Houghton, Mick, "White Punks on Coke", ''Let It Rock''. December 1975.</ref> [[Nick Kent]] referred to Iggy Pop as the "Punk Messiah of the Teenage Wasteland" in his review of [[the Stooges]] July 1972 performance at [[King's Cross Cinema]] in London for a British magazine called Cream (no relation to the more famous US publication).<ref>{{cite web |url=https://www.peterstanfield.com/blog/tag/Patrice+Kindl |title=Photographing Iggy and the Stooges at King Sound, Kings Cross, 1972 |website=peterstanfield.com |date=October 25, 2021 |access-date=December 9, 2021 }}</ref> In the January 1973 ''Rolling Stone'' review of ''Nuggets'', Greg Shaw commented "Punk rock is a fascinating genre... Punk rock at its best is the closest we came in the '60s to the original rockabilly spirit of Rock 'n Roll."<ref name="Shaw (Review of Nuggets)">{{cite magazine|last1=Shaw|first1=Greg|title=Punk Rock: the arrogant underbelly of Sixties pop (review of Nuggets)|magazine=Rolling Stone|page=68|date=January 4, 1973}}</ref> In February 1973, Terry Atkinson of the ''[[Los Angeles Times]]'', reviewing the debut album by a hard rock band, [[Aerosmith]], declared that it "achieves all that punk-rock bands strive for but most miss."<ref>Atkinson, Terry, "Hits and Misses", ''Los Angeles Times'', February 17, 1973, p. B6.</ref> A March 1973 review of an Iggy and the Stooges show in the ''[[Detroit Free Press]]'' dismissively referred to Pop as "the apotheosis of Detroit punk music".<ref>{{cite news |title=Detroit Press Ford review |date=March 30, 1973 |newspaper=Detroit Free Press |url=https://www.newspapers.com/clip/53086946/detroit-free-press-ford-review-30373/ |via=newspapers.com |access-date=December 9, 2021 }}</ref> In May 1973, Billy Altman launched the short-lived ''punk magazine'' in [[Buffalo, NY]] which was largely devoted to discussion of 1960s garage and psychedelic acts.
<ref name="Laing (punk/Altman)">{{cite book|url=https://books.google.com/books?id=ZQZ_BwAAQBAJ&q=billy+altman+punk+magazine&pg=PA23|title=One Chord Wonders: Power and Meaning in Punk Rock|last1=Laing|first1=Dave|date=2015|publisher=PM Press|edition=Second|location=Oakland, CA|page=23|isbn=9781629630335|access-date=November 19, 2020|archive-date=May 7, 2021|archive-url=https://web.archive.org/web/20210507014413/https://books.google.com/books?id=ZQZ_BwAAQBAJ&q=billy+altman+punk+magazine&pg=PA23|url-status=live}} – Laing mentions original "punk" magazine. He indicates that much "punk" fanfare in the early 70s was in relation to mid-60s garage rock and artists perceived as following in that tradition.</ref><ref>Sauders, "Metal" Mike. "Blue Cheer More Pumice than Lava." ''punk magazine''. Fall 1973. In this ''punk magazine'' article Saunders discusses Randy Holden, former member of garage rock acts [[The Other Half (band)|the Other Half]] and [[the Sons of Adam]], then later protopunk/heavy rock band, Blue Cheer. He refers to an album by the Other Half as "acid punk."</ref>

[[File:Iggy-Pop 1977.jpg|thumb|upright|alt=A rock band is onstage. A drumkit is on the left. A singer, Iggy Pop, sings into a microphone. He is wearing jeans and has no shirt on.|[[Iggy Pop]], the "godfather of punk"<ref>{{cite news|url=https://www.cbsnews.com/news/iggy-pop-still-the-godfather-of-punk/|title=Iggy Pop: Still the 'godfather of punk'|date=January 8, 2017|work=CBS News|access-date=October 20, 2018|archive-date=February 25, 2020|archive-url=https://web.archive.org/web/20200225001946/https://www.cbsnews.com/news/iggy-pop-still-the-godfather-of-punk/|url-status=live}}</ref>]]
In May 1974, ''Los Angeles Times'' critic [[Robert Hilburn]] reviewed the second New York Dolls album, ''[[Too Much Too Soon (album)|Too Much Too Soon]]''. "I told ya the New York Dolls were the real thing," he wrote, describing the album as "perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since [[the Rolling Stones]]' ''[[Exile on Main Street]]''."<ref>Hilburn, Robert, "Touch of Stones in Dolls' Album", ''Los Angeles Times'', May 7, 1974, p. C12.</ref> In a 1974 interview for his fanzine ''Heavy Metal Digest'', [[Danny Sugerman]] told Iggy Pop "You went on record as saying you never were a punk" and Iggy replied "...well I ain't. I never was a punk."<ref>{{cite book|url=https://books.google.com/books?id=RwpJFOSyEmEC&pg=PT202|title=Gimme Danger: The Story of Iggy Pop|first=Joe|last=Ambrose|date=November 11, 2009|publisher=Omnibus Press|isbn=978-0-8571-2031-1|access-date=September 10, 2017|archive-date=August 19, 2020|archive-url=https://web.archive.org/web/20200819211657/https://books.google.com/books?id=RwpJFOSyEmEC&pg=PT202|url-status=live}}</ref>

By 1975, ''punk'' was being used to describe acts as diverse as the [[Patti Smith Group]], the [[Bay City Rollers]], and [[Bruce Springsteen]].<ref name="sav131">Savage (1991), p. 131.</ref> As the scene at New York's [[CBGB]] club attracted notice, a name was sought for the developing sound. Club owner [[Hilly Kristal]] called the movement ''"Street rock"''; [[John Holmstrom]] credits ''[[The Aquarian Weekly|Aquarian]]'' magazine with using ''punk'' "to describe what was going on at CBGBs".<ref>Savage (1991), pp. 130–131.</ref> Holmstrom, [[Legs McNeil]], and Ged Dunn's magazine ''[[Punk (magazine)|Punk]]'', which debuted at the end of 1975, was crucial in codifying the term.<ref>Taylor (2003), pp. 16–17.</ref> "It was pretty obvious that the word was getting very popular", Holmstrom later remarked. "We figured we'd take the name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back."<ref name="sav131" />

==1960s–1973: Precursors== <!-- this section is a redirect from [[Punk Rock History]] -->

===Garage rock and beat===
{{See also|garage rock|mod (subculture)|beat music}}
The early to mid-1960s garage rock bands in the United States and elsewhere are often recognized as punk rock's progenitors. [[the Kingsmen]]'s "[[Louie, Louie]]" is often cited as punk rock's defining "[[Urtext edition|ur-text]]".{{sfn|Sabin|1999|p=157}}{{refn|group=nb|In the Kingsmen's version, the song's "El Loco Cha-Cha" riffs were pared down to a more simple and primitive rock arrangement providing a stylistic model for countless garage rock bands.<ref name="Pareles (Berry Obituary)">{{cite news |last1=Pareles |first1=Jon |title=Richard Berry, Songwriter of 'Louie Louie,' Dies at 61 |url=https://www.nytimes.com/1997/01/25/arts/richard-berry-songwriter-of-louie-louie-dies-at-61.html |work=[[The New York Times]] |access-date=April 27, 2016 |date=January 25, 1997 |archive-date=March 26, 2016 |archive-url=https://web.archive.org/web/20160326174905/http://www.nytimes.com/1997/01/25/arts/richard-berry-songwriter-of-louie-louie-dies-at-61.html |url-status=live}}</ref><ref>{{cite book |last=Avant-Mier |first=Roberto |date=2008 |title=Rock the Nation: Latin/o Identities and the Latin Rock Diaspora |page=99 |publisher=[[Routledge]] |location=London |isbn=978-1441164483}}</ref>}} After the success of the [[British Invasion]], the garage phenomenon gathered momentum around the US.{{sfn|Lemlich|1992|pp=2–3}} By 1965, the harder-edged sound of British acts, such as [[the Rolling Stones]], [[the Kinks]], and [[the Who]], became increasingly influential with American garage bands.{{sfn|Sabin|1999|p=159}} The raw sound of U.S. groups such as [[the Sonics]] and [[the Seeds]] predicted the style of later acts.{{sfn|Sabin|1999|p=159}} In the early 1970s some rock critics used the term "punk rock" to refer to the mid-1960s garage genre,<ref name="laing 21" /> as well as for subsequent acts perceived to be in that stylistic tradition, such as the Stooges.{{sfn|Bangs|2003|p=101}}

In Britain, largely under the influence of the [[Mod subculture|mod]] movement and beat groups, the Kinks' 1964 hit singles "[[You Really Got Me]]" and "[[All Day and All of the Night]]", were both influenced by "Louie, Louie".<ref>{{cite book |last=Kitts |first=Thomas M. |title=Ray Davies: Not Like Everybody Else |publisher=[[Routledge]] |date=2007 |page=41}}</ref>{{refn|group=nb|The Ramones' 1978 "I Don't Want You" was largely Kinks-influenced.<ref>Harrington (2002), p. 165.</ref>}} In 1965, [[the Who]] released the mod anthem "[[My Generation]]", which according to John Reed, anticipated the kind of "cerebral mix of musical ferocity and rebellious posture" that would characterize much of the later British punk rock of the 1970s.{{sfn|Reed|2005|p=49}}{{refn|group=nb|Reed describes the Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young [[Pete Townshend]]—speed obsession, pop-art clothing, art school ambition."{{sfn|Reed|2005|p=49}} The Who and [[the Small Faces]] were among the few rock elders acknowledged by the Sex Pistols.<ref>Fletcher (2000), p. 497.</ref>}} The garage/beat phenomenon extended beyond North America and Britain.<ref name="Unterberger (Trans World)">{{cite web |last1=Unterberger |first1=Richie |title=Trans-World Punk Rave-Up, Vol. 1–2 |website=AllMusic |url=http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459 |access-date=June 22, 2017 |archive-date=March 14, 2016 |archive-url=https://web.archive.org/web/20160314084101/http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459 |url-status=live}}</ref> In America, the [[psychedelic rock]] movement birthed an array of garage bands that would later become influences on punk, [[the Austin Chronicle]] described the [[13th Floor Elevators]] as a band who can lay claim to influencing the movement, "the seeds of punk remain blatant in the howling ultimatum [[Roky Erickson|Erickson]] transferred from his previous teen combo to the Elevators"<ref>{{Cite web|url=https://www.austinchronicle.com/music/2019-08-02/the-origins-of-austin-punk-in-the-aftermath-of-the-13th-floor-elevators/|title=The Origins of Austin Punk in the Aftermath of the 13th Floor Elevators|website=www.austinchronicle.com}}</ref> as well as describing other bands in the [[Houston]], Texas [[psychedelic rock]] scene as "a prime example of the opaque [[proto-punk]] undertow at the heart of the best [[psychedelia]]". Hippie [[proto-punk]] [[David Peel (musician)|David Peel]] of [[New York City]]'s Lower East Side was the first person to use the word "[[motherfucker]]" in a song title and also directly influenced [[the Clash]].<ref>{{cite web | url=https://www.loudersound.com/features/the-tale-of-david-peel-the-dope-smoking-hippy-who-became-the-king-of-punk | title=The strange tale of David Peel, the dope-smoking hippy who became the King of Punk | date=March 22, 2016 }}</ref>

=== Proto-punk ===
{{main|proto-punk}}

In August 1969, [[the Stooges]], from [[Ann Arbor, Michigan|Ann Arbor]], premiered with a [[The Stooges (album)|self-titled album]]. According to critic [[Greil Marcus]], the band, led by singer [[Iggy Pop]], created "the sound of [[Chuck Berry]]'s [[You Can't Catch Me|Airmobile]]—after thieves stripped it for parts".<ref>Marcus (1979), p. 294.</ref> The album was produced by [[John Cale]], a former member of New York's experimental rock group [[the Velvet Underground]], who inspired many of those involved in the creation of punk rock.<ref>Taylor (2003), p. 49.</ref> The [[New York Dolls]] updated 1950s' rock 'n' roll in a fashion that later became known as [[glam punk]].<ref>Harrington (2002), p. 538.</ref> The New York duo [[Suicide (band)|Suicide]] played spare, experimental music with a confrontational stage act inspired by that of the Stooges.<ref>Bessman (1993), pp. 9–10.</ref> In Boston, [[the Modern Lovers]], led by [[Jonathan Richman]], gained attention for their minimalistic style. In 1974, as well, the Detroit band [[Death (Detroit band)|Death]]—made up of three African-American brothers—recorded "scorching blasts of feral ur-punk", but could not arrange a release deal.<ref name="Rubin">{{cite news |last=Rubin |first=Mike |title=This Band Was Punk Before Punk Was Punk |work=[[The New York Times]] |url=https://www.nytimes.com/2009/03/15/arts/music/15rubi.html |date=March 12, 2009 |access-date=2009-03-15 |archive-date=July 1, 2017 |archive-url=https://web.archive.org/web/20170701073322/http://www.nytimes.com/2009/03/15/arts/music/15rubi.html |url-status=live}}</ref> In Ohio, a small but influential underground rock scene emerged, led by [[Devo]] in [[Akron, Ohio|Akron]]<ref name="WaPo">{{cite news|last1=Sommer|first1=Tim|title=How the Kent State massacre helped give birth to punk rock|url=https://www.washingtonpost.com/outlook/how-the-kent-state-massacre-changed-music/2018/05/03/b45ca462-4cb6-11e8-b725-92c89fe3ca4c_story.html|newspaper=The Washington Post|access-date=2018-05-03|date=May 8, 2018|archive-date=May 8, 2018|archive-url=https://web.archive.org/web/20180508211408/https://www.washingtonpost.com/outlook/how-the-kent-state-massacre-changed-music/2018/05/03/b45ca462-4cb6-11e8-b725-92c89fe3ca4c_story.html|url-status=live}}</ref> and [[Kent, Ohio|Kent]] and by Cleveland's [[Electric Eels (band)|Electric Eels]], [[Mirrors (Ohio band)|Mirrors]] and [[Rocket from the Tombs]].

Bands anticipating the forthcoming movement were appearing as far afield as [[Düsseldorf]], West Germany, where "punk before punk" band [[Neu!]] formed in 1971, building on the [[Krautrock]] tradition of groups such as [[Can (band)|Can]].<ref name="trouser2">{{cite magazine |last=Neate |first=Wilson |title=NEU! |magazine=Trouser Press |url=http://www.trouserpress.com/entry.php?a=neu |access-date=2007-01-11 |archive-date=November 12, 2006 |archive-url=https://web.archive.org/web/20061112175958/http://www.trouserpress.com/entry.php?a=neu |url-status=live}}</ref> In Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed [[garage-psych]] and [[folk music|folk]]. The combo regularly faced censorship challenges, their live act at least once including onstage masturbation.<ref>Anderson (2002), p. 588.</ref> In Peru, founded in 1964, the group [[Los Saicos]], used fast tempos, aggressive riffing, hoarses and screamed vocals along with souped-up tracks about prison escapes, funerals and destruction has led some publication to retrospectively credit them as pioneering punk rock.<ref>{{cite news |last=Watts |first=Jonathan |title=Where did punk begin? A cinema in Peru |work=[[The Guardian]] |url=https://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru |date=September 14, 2012 |access-date=2024-12-24 |archive-date=May 24, 2024 |archive-url=https://web.archive.org/web/20240524130713/https://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru |url-status=live }}</ref><ref>{{cite news |last=García |first=Julio |title=Ni Sex Pistols ni Ramones; el punk empezó en Perú y en español |work=[[BBC]] |url=https://www.bbc.com/mundo/noticias/2011/12/111223_saicos_precursores_punk_peruano_jgc |date=December 24, 2011 |access-date=2024-12-24 |archive-date=December 26, 2023 |archive-url=https://web.archive.org/web/20231226085034/https://www.bbc.com/mundo/noticias/2011/12/111223_saicos_precursores_punk_peruano_jgc |url-status=live }}</ref> A new generation of Australian garage rock bands, inspired mainly by the Stooges and [[MC5]], was coming closer to the sound that would soon be called "punk": In [[Brisbane]], [[The Saints (Australian band)|the Saints]] evoked the live sound of the British [[Pretty Things]], who had toured Australia and New Zealand in 1975.<ref>Unterberger (2000), p. 18.</ref>

==1974–1976: First wave==
===North America===
====New York City====
[[File:CBGB club facade.jpg|thumb|left|alt=The front of the music club CBGB is shown. An awning has the letters CBGB painted on it. Below the name are the letters "OMFUG".|Facade of legendary music club [[CBGB]], New York]]
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.{{sfn|Savage|1991|pp=86–90, 59–60}} In early 1974, a new scene began to develop around the [[CBGB]] club, also in [[Lower Manhattan]]. At its core was [[Television (band)|Television]], described by critic John Walker as "the ultimate garage band with pretensions".<ref name="W">Walker (1991), p. 662.</ref> Their influences ranged from [[The Velvet Underground]] to the staccato guitar work of [[Dr. Feelgood (band)|Dr. Feelgood]]'s [[Wilko Johnson]].<ref>Strongman (2008), pp. 53, 54, 56.</ref> 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.<ref name="S89">Savage (1992), p. 89.</ref> In April 1974, [[Patti Smith]] came to CBGB for the first time to see the band perform.<ref>Bockris and Bayley (1999), p. 102.</ref> 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.<ref>{{cite web|title=Patti Smith—Biography|publisher=Arista Records|url=http://www.arista.com/psmith/smithbio.html|access-date=2007-10-23|archive-url=https://web.archive.org/web/20071103053048/http://www.arista.com/psmith/smithbio.html |archive-date=November 3, 2007|url-status=dead}} Strongman (2008), p. 57; Savage (1991), p. 91; Pareles and Romanowski (1983), p. 511; Bockris and Bayley (1999), p. 106.</ref> By August, Smith and Television were gigging together at [[Max's Kansas City]].<ref name="S89" />
[[File:Ramones Toronto 1976.jpg|thumb|230x230px|The [[Ramones]] performing in [[Toronto]] in 1976. The Ramones are often described as the first true punk band, popularizing the punk movement in the United States. They are regarded as highly influential in today's [[Punk subculture|punk culture]].]]
In [[Forest Hills, Queens]], the [[Ramones]] drew on sources ranging from the Stooges to [[the Beatles]] and [[the Beach Boys]] to [[Herman's Hermits]] and 1960s girl groups, and condensed rock 'n' roll to its primal level: {{" '}}1–2–3–4!' bass-player [[Dee Dee Ramone]] shouted at the start of every song as if the group could barely master the rudiments of rhythm."{{sfn|Savage|1991|pp=90–91}} The band played its first show at CBGB in August 1974.<ref>Gimarc (2005), p. 14</ref> By the end of the year, the Ramones had performed seventy-four shows, each about seventeen minutes long.<ref>Bessman (1993), p. 27.</ref> "When I first saw the Ramones", critic [[Mary Harron]] later remembered, "I couldn't believe people were doing this. The dumb brattiness."{{sfn|Savage|1991|pp=132–33}}{{Listen
| filename     = 
| title        = "I Wanna Be Sedated"
| description  = The 1978 single "[[I Wanna Be Sedated]]" was described by the author Brian J. Bow as one of the Ramones' "most classic" pieces of music. After a show in London, singer [[Joey Ramone]] told manager [[Linda S. Stein|Linda Stein]]: "Put me in a wheelchair and get me on a plane before I go insane."<ref>Bowe 2010, p. 52.</ref> This quote would be the chorus to "I Wanna Be Sedated", whose lyrics invoke the stress which the band was under during touring. It is the most downloaded song from the catalog by the Ramones.<ref>{{cite book|last1=Schinder|first1=Scott|last2=Schwartz|first2=Andy|title=Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever|year=2007|publisher=[[Greenwood Publishing Group]]|volume=2|isbn=978-0-313-33847-2|page=550}}</ref>
| format       = [[Ogg]]
}}

That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the club's profile.<ref>Bockris and Bayley (1999), p. 119.</ref> The Television sets included Richard Hell's "Blank Generation", which became the scene's emblematic anthem.<ref>Savage (1992) claims that "Blank Generation" was written around this time (p. 90). However, the Richard Hell anthology album ''Spurts'' includes a live Television recording of the song that he dates "spring 1974."</ref> Soon after, Hell left Television and founded a band featuring a more stripped-down sound, [[the Heartbreakers]], with former New York Dolls [[Johnny Thunders]] and [[Jerry Nolan]].<ref name="RHV" /> In August, Television recorded a single, "Little Johnny Jewel". In the words of John Walker, the record was "a turning point for the whole New York scene" if not quite for the punk rock sound itself – Hell's departure had left the band "significantly reduced in fringe aggression".<ref name="W" />

Early in 1976, Hell left the Heartbreakers to form [[the Voidoids]], described as "one of the most harshly uncompromising [punk] bands".<ref>Pareles and Romanowski (1983), p. 249.</ref> That April, the Ramones' debut album was released by [[Sire Records]]; the first single was "[[Blitzkrieg Bop]]", opening with the rallying cry "Hey! Ho! Let's go!" According to a later description, "Like all cultural watersheds, ''[[Ramones (album)|Ramones]]'' was embraced by a discerning few and slagged off as a bad joke by the uncomprehending majority."<ref name="trouser3">{{cite web|title=Ramones|author1=Isler, Scott|author2=Robbins, Ira|work=Trouser Press|url=http://trouserpress.com/entry.php?a=ramones|access-date=2007-10-23|archive-date=November 2, 2007|archive-url=https://web.archive.org/web/20071102185040/http://www.trouserpress.com/entry.php?a=ramones|url-status=live}}</ref> [[The Cramps]], whose core members were from [[Sacramento, California]] and [[Akron, Ohio]], had debuted at CBGB in November 1976, opening for the Dead Boys. They were soon playing regularly at Max's Kansas City and CBGB.<ref>Porter (2007), pp. 48–49; Nobahkt (2004), pp. 77–78.</ref>

At this early stage, the term ''punk'' applied to the scene in general, not necessarily a particular stylistic approach as it would later—the early New York punk bands represented a broad variety of influences. Among them, the Ramones, the Heartbreakers, Richard Hell and the Voidoids, and the Dead Boys were establishing a distinct musical style. Even where they diverged most clearly, in lyrical approach – the Ramones' apparent guilelessness at one extreme, Hell's conscious craft at the other – there was an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to define punk rock.<ref>Walsh (2006), p. 8.</ref>

===United Kingdom===
{{Listen
| filename     = Anarchy in the UK.ogg
| title        = "Anarchy in the U.K."
| description  = With its "inflammatory, venomous lyrics [and] crude energy", the [[Sex Pistols]]' debut single "[[Anarchy in the U.K.]]" "established punk's modus operandi".<ref>Unterberger (2002), p. 1337.</ref> Producer [[Chris Thomas (record producer)|Chris Thomas]] layered multiple tracks of [[Steve Jones (musician)|Steve Jones]]'s guitar to create a "searing wall of sound",<ref>Gimarc (2005), p. 41</ref> while [[John Lydon|Johnny Rotten]] spewed the vocals "as if his teeth had been ground down to points."<ref>Marcus (1989), p. 8.</ref>
}}
After a brief period unofficially managing the New York Dolls, Briton [[Malcolm McLaren]] returned to London in May 1975, inspired by the new scene he had witnessed at CBGB. The [[King's Road]] clothing store he co-owned, recently renamed [[Sex (boutique)|Sex]], was building a reputation with its outrageous "anti-fashion".<ref>[https://www.rollingstone.com/music/artists/the-sex-pistols/biography "The Sex Pistols"] {{Webarchive|url=https://web.archive.org/web/20120119121526/http://www.rollingstone.com/music/artists/the-sex-pistols/biography |date=January 19, 2012 }}, ''Rolling Stone Encyclopedia of Rock 'n' Roll'' (2001). Retrieved on September 11, 2006; Robb (2006), pp. 83–87; Savage (1992), pp. 99–103.</ref> Among those who frequented the shop were members of a band called the Strand, which McLaren had also been managing. In August, the group was seeking a new lead singer. Another Sex habitué, [[John Lydon|Johnny Rotten]], auditioned for and won the job. Adopting a new name, the group played its first gig as the [[Sex Pistols]] on November 6, 1975, at [[Saint Martin's School of Art]], and soon attracted a small but dedicated following.<ref>Gimarc (2005), p. 22; Robb (2006), p. 114; Savage (1992), p. 129.</ref> In February 1976, the band received its first significant press coverage; guitarist [[Steve Jones (musician)|Steve Jones]] declared that the Sex Pistols were not so much into music as they were "chaos".<ref>Savage (1992), pp. 151–152. The quote has been incorrectly ascribed to McLaren (e.g., Laing [1985], pp. 97, 127) and Rotten (e.g., [https://www.bbc.co.uk/dna/h2g2/A791336 "Punk Music in Britain"] {{Webarchive|url=https://web.archive.org/web/20110730180831/http://www.bbc.co.uk/dna/h2g2/A791336 |date=July 30, 2011}}, BBC, October 7, 2002), but Savage directly cites the ''[[NME|New Musical Express]]'' issue in which the quote originally appeared. Robb (2006), p. 148, also describes the ''NME'' article in some detail and ascribes the quote to Jones.</ref> The band often provoked its crowds into near-riots. Rotten announced to one audience, "Bet you don't hate us as much as we hate you!"<ref>Quoted in Friedlander and Miller (2006), p. 252.</ref> McLaren envisioned the Sex Pistols as central players in a new youth movement, "hard and tough".<ref>Quoted in Savage (1992), p. 163.</ref> As described by critic [[Jon Savage]], the band members "embodied an attitude into which McLaren fed a new set of references: late-sixties radical politics, sexual fetish material, pop history, [...] youth sociology".<ref>Savage (1992), p. 163.</ref>[[File:Sex Pistols in Paradiso.jpg|thumb|left|alt=Members of rock band the Sex Pistols onstage in a concert.|Vocalist [[Johnny Rotten]] of the [[Sex Pistols]] flanked by guitarists [[Glen Matlock]] and [[Steve Jones (musician)|Steve Jones]], in front of drummer [[Paul Cook]]]] [[File:Clash 21051980 12 800.jpg|right|thumb|alt=The rock band the Clash performing onstage. Three members are shown. All three have short hair. Two of the members are playing electric guitars.|[[The Clash]] performing in 1980]]
[[Bernard Rhodes]], an associate of McLaren, similarly aimed to make stars of the band [[London SS]], who became [[the Clash]], which was joined by [[Joe Strummer]].<ref>Savage (1992), pp. 124, 171, 172.</ref> On June 4, 1976, the Sex Pistols played Manchester's [[Free Trade Hall|Lesser Free Trade Hall]] in what became one of the most influential rock shows ever. Among the approximately forty audience members were the two locals who organised the gig—they had formed [[Buzzcocks]] after seeing the Sex Pistols in February. Others in the small crowd went on to form [[Joy Division]], [[The Fall (band)|the Fall]], and – in the 1980s — [[the Smiths]].<ref>{{cite web |date=June 27, 2006 |title=Sex Pistols Gig: The Truth |publisher=BBC |url=https://www.bbc.co.uk/manchester/content/articles/2006/05/11/110506_sex_pistols_gig_feature.shtml |access-date=2007-12-29 |archive-date=December 24, 2019 |archive-url=https://web.archive.org/web/20191224054741/http://www.bbc.co.uk/manchester/content/articles/2006/05/11/110506_sex_pistols_gig_feature.shtml |url-status=live }}</ref> In July, the Ramones played two London shows that helped spark the nascent UK punk scene.<ref>Taylor (2003), p. 56; McNeil and McCain (2006), pp. 230–233; Robb (2006), pp. 198, 201. Quote: Robb (2006), p. 198.</ref> Over the next several months, many new punk rock bands formed, often directly inspired by the Sex Pistols.<ref>See, e.g., Marcus (1989), pp. 37, 67.</ref> In London, women were near the center of the scene—among the initial wave of bands were the female-fronted [[Siouxsie and the Banshees]], [[X-Ray Spex]], and the all-female [[the Slits]]. There were female bassists [[Gaye Advert]] in [[the Adverts]] and [[Shanne Bradley]] in [[the Nipple Erectors]], while Sex store frontwoman [[Pamela Rooke|Jordan]] not only managed [[Adam and the Ants]] but also performed screaming vocals on their song "Lou". Other groups included [[Subway Sect]], [[Alternative TV]], [[Wire (band)|Wire]], [[the Stranglers]], [[Eater (band)|Eater]] and [[Generation X (band)|Generation X]]. Farther afield, [[Sham 69]] began practicing in the southeastern town of [[Hersham]]. In [[Durham, England|Durham]], there was [[Penetration (band)|Penetration]], with lead singer [[Pauline Murray]]. On September 20–21, the [[100 Club Punk Festival]] in London featured the Sex Pistols, Clash, Damned, and Buzzcocks, as well as Paris's female-lead [[Stinky Toys]]. Siouxsie and the Banshees and Subway Sect debuted on the festival's first night. On the festival's second night, audience member [[Sid Vicious]] was arrested for having thrown a glass at the Damned that shattered and destroyed a girl's eye. Press coverage of the incident reinforced punk's reputation as a social menace.<ref>Colegrave and Sullivan (2005), p. 111; Gimarc (2005), p. 39; Robb (2006), pp. 217, 224–225.</ref>

Some new bands, such as London's [[Ultravox]]!, Edinburgh's [[Rezillos]], Manchester's the Fall, and Leamington's [[The Shapes (British band)|the Shapes]], identified with the scene even as they pursued more experimental music. Others of a comparatively traditional rock 'n' roll bent were also swept up by the movement: [[the Vibrators]], formed as a pub rock–style act in February 1976, soon adopted a punk look and sound.<ref>Savage (1992), pp. 221, 247.</ref> A few even longer-active bands including [[Surrey]] neo-mods [[the Jam]] and pub rockers [[Eddie and the Hot Rods]], [[the Stranglers]], and [[Cock Sparrer]] also became associated with the punk rock scene. Alongside the musical roots shared with their American counterparts and the calculated confrontationalism of the early [[The Who|Who]], the British punks also reflected the influence of [[glam rock]] and related artists and bands such as [[David Bowie]], [[Slade (band)|Slade]], [[T. Rex (band)|T.Rex]], and [[Roxy Music]].<ref>Heylin (1993), p. xii.</ref> However, Sex Pistols frontman Johnny Rotten (real name John Lydon) insisted that the influences of the UK punk scene were not from the US and NY. "I've heard an awful lot of American journalists pretending that the whole punk influence came out of New York." He argued: "T. Rex, David Bowie, Slade, [[Mott The Hoople]], [[the Alex Harvey Band]] — their influence was enormous. And they try to write that all off and wrap it around Patti Smith. It's so wrong!".<ref>{{cite web|url=https://www.nme.com/news/music/john-lydon-says-its-wrong-to-credit-patti-smith-with-punks-beginnings-3481861|title=John Lydon says its "wrong" to credit Patti Smith with punk's beginnings|publisher=NME|date=August 11, 2023|access-date=2023-10-08|archive-date=October 9, 2023|archive-url=https://archive.today/20231009010558/https://www.nme.com/news/music/john-lydon-says-its-wrong-to-credit-patti-smith-with-punks-beginnings-3481861|url-status=bot: unknown}}</ref>

In October 1976, the Damned released the first UK punk rock band single, "[[New Rose]]".<ref>Griffin, Jeff, "[https://www.bbc.co.uk/radio1/johnpeel/artists/t/thedamned/ The Damned] {{Webarchive|url=https://web.archive.org/web/20201107040813/http://www.bbc.co.uk/radio1/johnpeel/artists/t/thedamned/ |date=November 7, 2020 }}", BBC.co.uk. Retrieved on November 19, 2006.</ref> The Vibrators followed the next month with "We Vibrate". On November 26, 1976, the Sex Pistols' released their debut single "[[Anarchy in the U.K.]]", which succeeded in its goal of becoming a "national scandal".<ref>{{cite magazine |title=Anarchy in the U.K. |magazine=Rolling Stone |url=https://www.rollingstone.com/news/story/6595898/anarchy_in_the_uk |date=December 9, 2004 |access-date=2007-10-22|archive-url=https://web.archive.org/web/20071012084358/http://www.rollingstone.com/news/story/6595898/anarchy_in_the_uk |archive-date=October 12, 2007|url-status=dead}}</ref> [[Jamie Reid]]'s "anarchy flag" poster and his other design work for the Sex Pistols helped establish a distinctive [[Punk visual art|punk visual aesthetic]].<ref name=P245>Pardo (2004), p. 245.</ref>

On December 1, 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 [[Steven Severin]], filled a vacancy for [[Queen (band)|Queen]] on the early evening [[Thames Television]] London television show ''[[Today (Thames Television series)|Today]]'' to be interviewed by host [[Bill Grundy]]. When Grundy asked Siouxsie how she was doing, she made fun of him saying, "I've always wanted to meet you, Bill". Grundy, who was drunk, told her on the air; "we shall meet afterwards then". This instantly generated a reaction from Sex Pistols guitarist Steve Jones who pronounced a series of terms inappropriate for prime-time television.<ref name=fader /> Jones proceeded to call Grundy a "dirty bastard", a "dirty fucker", and a "fucking rotter", triggering a media controversy.<ref>Lydon (1995), p. 127; Savage (1992), pp. 257–260; Barkham, Patrick, [https://www.theguardian.com/uk_news/story/0,3604,1427563,00.html "Ex-Sex Pistol Wants No Future for Swearing"], ''The Guardian'' (UK), March 1, 2005. Retrieved on December 17, 2006.</ref> The episode had a major impact on the history of the scene and the punk term became a household name in 24 hours thanks to the press coverage, and several front covers of newspapers.<ref name=fader>{{cite web|first=Peter|last=Macia|url=https://www.thefader.com/2010/10/21/read-our-interview-with-ari-up-from-the-siouxsie-siouxshabba-ranks-icon-issue|title=Read Our Interview With Ari Up from the Siouxsie Sioux/Shabba Ranks Icon Issue|publisher=The Fader|date=October 21, 2010|access-date=September 21, 2019|archive-date=December 26, 2018|archive-url=https://archive.today/20181226153301/https://www.thefader.com/2010/10/21/read-our-interview-with-ari-up-from-the-siouxsie-siouxshabba-ranks-icon-issue|url-status=live}}</ref>

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.<ref>Savage (1992), pp. 267–275; Lydon (1995), pp. 139–140.</ref>

===Australia===
A punk subculture began in Australia around the same time, centered around [[Radio Birdman]] and the Oxford Tavern in Sydney's [[Darlinghurst]] suburb. By 1976, [[The Saints (Australian band)|the Saints]] were hiring Brisbane [[Hall (concept)#Public halls|local halls]] to use as venues, or playing in "Club 76", their shared house in the inner suburb of [[Brisbane central business district|Petrie Terrace]]. The band soon discovered that musicians were exploring similar paths in other parts of the world. [[Ed Kuepper]], co-founder of the Saints, later recalled:
<blockquote>
One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it [in 1976], I mean it was a great record [...] but I hated it because I knew we'd been doing this sort of stuff for years. There was even a [[chord progression]] on that album that we used [...] and I thought, "Fuck. We're going to be labeled as influenced by the Ramones", when nothing could have been further from the truth.<ref>[[Clinton Walker|Walker, Clinton]] (1996), p. 20.</ref>
</blockquote>

In [[Perth]], the [[The Manikins|Cheap Nasties]] formed in August.<ref>McFarlane (1999), p. 548.</ref> In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "[[(I'm) Stranded (song)|(I'm) Stranded]]". The band self-financed, packaged, and distributed the single.<ref>{{cite web |author=Beaumont, Lucy |date=August 17, 2007 |title=<nowiki>"Great Australian Albums&nbsp;[TV review]"&nbsp;</nowiki> |work=The Age |url=http://www.theage.com.au/news/tv-reviews/great-australian-albums/2007/08/17/1186857752215.html |access-date=2007-09-22 |archive-date=November 3, 2007 |archive-url=https://web.archive.org/web/20071103113925/http://www.theage.com.au/news/tv-reviews/great-australian-albums/2007/08/17/1186857752215.html |url-status=live }} {{cite web |author=Gook, Ben |date=August 16, 2007 |title=<nowiki>"Great Australian Albums The Saints – (I'm) Stranded&nbsp;[DVD review]"&nbsp;</nowiki> |work=Mess+Noise |url=http://www.messandnoise.com/releases/5734 |access-date=2007-09-22 |archive-date=October 11, 2007 |archive-url=https://web.archive.org/web/20071011123233/http://www.messandnoise.com/releases/5734 |url-status=live }}</ref> "(I'm) Stranded" had limited impact at home, but the British music press recognized it as groundbreaking.<ref>Stafford (2006), pp. 57–76.</ref>

==1977–1978: Peak of the first wave==
A second wave of punk rock emerged in 1977. These bands often sounded very different from each other.<ref name="R211">Reynolds (2005), p. 211.</ref> While punk remained largely an underground phenomenon in the US, in the UK it had become a major sensation.<ref>{{Cite web |title=Punk Music Style Overview |url=https://www.allmusic.com/style/punk-ma0000002806 |access-date=2025-01-14 |website=AllMusic |language=en |archive-date=October 1, 2018 |archive-url=https://web.archive.org/web/20181001181553/https://www.allmusic.com/style/punk-ma0000002806 |url-status=live }}</ref><ref>{{cite magazine|url=https://www.rollingstone.com/music/news/a-report-on-the-sex-pistols-19771020|title=A Report on the Sex Pistols|magazine=[[Rolling Stone]]|date=October 20, 1977|access-date=September 10, 2017|archive-date=September 5, 2017|archive-url=https://web.archive.org/web/20170905124746/http://www.rollingstone.com/music/news/a-report-on-the-sex-pistols-19771020|url-status=live}}</ref> During this period punk music also spread beyond the English speaking world, inspiring local scenes in other countries.

=== North America ===
The [[Punk rock in California|California punk scene]] was fully developed by early 1977. In Los Angeles, there were: [[the Weirdos]], [[The Dils]], [[The Zeros (American band)|the Zeros]], [[Bags (Los Angeles band)|the Bags]], [[Black Randy and the Metrosquad]], [[Germs (band)|the Germs]], [[Fear (band)|Fear]], [[The Go-Go's]], [[X (American band)|X]], [[the Dickies]], and the relocated Tupperwares, now dubbed [[the Screamers]].<ref>Spitz and Mullen (2001)</ref> [[Black Flag (band)|Black Flag]] formed in [[Hermosa Beach]] in 1976 under the name Panic. They developed a [[hardcore punk]] sound and played their debut public performance in a garage in [[Redondo Beach, California|Redondo Beach]] in December 1977.<ref>Chick (2009), passim.</ref> San Francisco's second wave included [[Avengers (band)|the Avengers]], [[The Nuns]], [[Negative Trend]], [[the Mutants (San Francisco band)|the Mutants]], and the Sleepers.<ref>Stark (2006), passim.</ref> By mid-1977 in downtown New York, bands such as [[Teenage Jesus and the Jerks]] led what became known as [[no wave]].<ref>Heylin (2007), pp. 491–494.</ref> The [[Misfits (band)|Misfits]] formed in nearby New Jersey. Still developing what would become their signature [[B movie]]–inspired style, later dubbed [[horror punk]], they made their first appearance at CBGB in April 1977.<ref>Smith (2008), pp. 120, 238–239.</ref>

[[File:Misfits 2012-11-08 01.JPG|thumb|alt=The rock band The Misfits performing onstage. The band's name in large lettering is printed on a fabric panel behind the performers along with a skull image. From left to right are the electric bassist, drummer, and electric guitarist.|The Misfits developed a "[[horror punk]]" style in New Jersey.]]
The Dead Boys' debut LP, ''[[Young, Loud and Snotty]]'', was released at the end of August.<ref>Gimarc (2005), p. 86</ref> October saw two more debut albums from the scene: Richard Hell and the Voidoids' first full-length, ''[[Blank Generation (album)|Blank Generation]]'', and the Heartbreakers' ''[[L.A.M.F.]]''<ref>Gimarc (2005), p. 92</ref> One track on the latter exemplified both the scene's close-knit character and the popularity of heroin within it: "[[Chinese Rocks]]" — the title refers to a strong form of the drug – was written by Dee Dee Ramone and Hell, both users, as were the Heartbreakers' Thunders and Nolan.<ref>{{cite web |first=Jeffrey |last=Wengrofsky |title=The Romance of Junk: Heartbreaker Walter Lure |work=Trebuchet Magazine |date=May 21, 2019 |access-date=December 9, 2021 |url=https://www.trebuchet-magazine.com/walter-lure/ |url-status=live |archive-url=https://web.archive.org/web/20200422220240/https://www.trebuchet-magazine.com/walter-lure/ |archive-date=April 22, 2020 }} Retrieved May 12, 2020</ref> (During the Heartbreakers' 1976 and 1977 tours of Britain, Thunders played a central role in popularizing heroin among the punk crowd there, as well.)<ref>Boot and Salewicz (1997), p. 99.</ref> The Ramones' third album, ''[[Rocket to Russia]]'', appeared in November 1977.<ref>Gimarc (2005), p. 102</ref>

===United Kingdom===
The [[Sex Pistols]]' live TV skirmish with [[Bill Grundy]] on December 1, 1976, was the signal moment in [[British punk]]'s transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.<ref>Savage (1992), pp. 260, 263–67, 277–79; Laing (1985), pp. 35, 37, 38.</ref> Press coverage of punk misbehavior grew intense: On January 4, 1977, ''[[The Evening News (London newspaper)|The Evening News]]'' of London ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".<ref>Savage (1992), p. 286.</ref> In February 1977, the first album by a British punk band appeared: ''[[Damned Damned Damned]]'' (by the Damned) reached number thirty-six on the UK chart. The EP ''[[Spiral Scratch (EP)|Spiral Scratch]]'', self-released by Manchester's [[Buzzcocks]], was a benchmark for both the DIY ethic and regionalism in the country's punk movement.<ref>Savage (1992), pp. 296–98; Reynolds (2005), pp. 26–27. Though see also McKay 2023 for an alternative view of the extent of punk's 'DIY-ness'.</ref> [[The Clash]]'s [[The Clash (album)|self-titled debut album]] came out two months later and rose to number twelve; the single "[[White Riot]]" entered the top forty. In May, the Sex Pistols achieved new heights of controversy (and number two on the singles chart) with "[[God Save the Queen (Sex Pistols song)|God Save the Queen]]". The band had recently acquired a new bassist, [[Sid Vicious]], who was seen as exemplifying the punk persona.<ref>Colegrave and Sullivan (2005), p. 225.</ref> The swearing during the Grundy interview and the controversy over "God Save the Queen" led to a [[moral panic]].<ref>Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 48-49</ref>

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]].<ref>See Worley (2017) for an overview of the regional spread of punk in its early years.</ref> 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.<ref>{{cite news|last1=Swash|first1=Rosie|title=Crass's political punk is as relevant now as ever|url=https://www.theguardian.com/music/2010/oct/24/crass-penny-rimbaud-steve-ignorant|newspaper=The Guardian|access-date=March 26, 2015|date=October 23, 2010|archive-date=April 2, 2015|archive-url=https://web.archive.org/web/20150402112739/http://www.theguardian.com/music/2010/oct/24/crass-penny-rimbaud-steve-ignorant|url-status=live}}</ref> 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 (band)|Big in Japan]], moved in a glam, theatrical direction.<ref>Reynolds (2005), pp. 365, 378.</ref> The band did not survive long, but it spun off several well-known post-punk acts.<ref>Savage (1991), p. 298.</ref> The songs of London's [[Wire (band)|Wire]] were characterized by sophisticated lyrics, minimalist arrangements, and extreme brevity.<ref>Reynolds (2005), pp. 170–72.</ref>

Alongside thirteen original songs that would define classic punk rock, the Clash's debut had included a cover of the recent Jamaican [[reggae]] hit "[[Police and Thieves]]".<ref>Shuker (2002), p. 228; Wells (2004), p. 113; Myers (2006), p. 205; {{cite web |title=Reggae 1977: When The Two 7's Clash |publisher=Punk77.co.uk |url=http://www.punk77.co.uk/punkhistory/reggae.htm |access-date=December 3, 2006 |archive-date=September 7, 2012 |archive-url=https://archive.today/20120907155344/http://www.punk77.co.uk/punkhistory/reggae.htm |url-status=live }}</ref> Other first wave bands such as [[the Slits]] and new entrants to the scene like [[the Ruts]] and [[the Police]] interacted with the reggae and [[ska]] subcultures, incorporating their rhythms and production styles. The punk rock phenomenon helped spark a full-fledged ska revival movement known as [[2 Tone (music genre)|2 Tone]], centered on bands such as [[the Specials]], [[The Beat (British band)|the Beat]], [[Madness (band)|Madness]], and [[the Selecter]].<ref>Hebdige (1987), p. 107.</ref> In July, the Sex Pistols' third single, "[[Pretty Vacant]]", reached number six and Australia's the Saints had a top-forty hit with "[[This Perfect Day (song)|This Perfect Day]]".<ref>Wells (2004), p. 114.</ref>

In September, Generation X and the Clash reached the top forty with, respectively, "Your Generation" and "[[Complete Control]]". X-Ray Spex's "[[Oh Bondage Up Yours!]]" did not chart, but it became a requisite item for punk fans.<ref>Gaar (2002), p. 200.</ref> The BBC banned "Oh Bondage Up Yours!" due to its controversial lyrics.<ref>Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 86</ref> In October, the Sex Pistols hit number eight with "[[Holidays in the Sun (song)|Holidays in the Sun]]", followed by the release of their first and only "official" album, ''[[Never Mind the Bollocks, Here's the Sex Pistols]]''. Inspiring yet another round of controversy, it topped the British charts. In December, one of the first books about punk rock was published: ''The Boy Looked at Johnny'', by [[Julie Burchill]] and [[Tony Parsons (British journalist)|Tony Parsons]].{{refn|group=nb|The title echoes a lyric from the title track of Patti Smith's 1975 album ''Horses.''}}

=== Australia ===
In February 1977, EMI released [[The Saints (Australian band)|the Saints]]' debut album, ''[[(I'm) Stranded]]'', which the band recorded in two days.<ref>McFaarlane, p. 547.</ref> The Saints had relocated to Sydney; in April, they and [[Radio Birdman]] united for a major gig at [[Paddington Town Hall]].<ref>Cameron, Keith. [http://arts.guardian.co.uk/filmandmusic/story/0,,2129910,00.html "Come the Revolution"] {{Webarchive|url=https://web.archive.org/web/20071209232253/http://arts.guardian.co.uk/filmandmusic/story/0,,2129910,00.html |date=December 9, 2007}}. ''Guardian'', July 20, 2007. Retrieved on November 25, 2007.</ref> [[Last Words (band)|Last Words]] had also formed in the city. The following month, the Saints relocated again, to Great Britain. In June, Radio Birdman released the album ''[[Radios Appear]]'' on its own Trafalgar label.<ref name="M507">McFarlane (1999), p. 507.</ref>

==1979–1984: Schism and diversification==
[[File:Flipper 930club.jpg|thumb|right|alt=The band Flipper is performing at a club. From left to right are the singer, drummer, and electric guitarist. The singer is seated on a stool, and he is holding a pair of crutches.|[[Flipper (band)|Flipper]], performing in 1984]]
By 1979, the [[hardcore punk]] movement was emerging in [[Southern California]]. A rivalry developed between adherents of the new sound and the older punk rock crowd. Hardcore, appealing to a younger, more suburban audience, was perceived by some as anti-intellectual, overly violent, and musically limited. In Los Angeles, the opposing factions were often described as "Hollywood punks" and "beach punks", referring to Hollywood's central position in the original L.A. punk rock scene and to hardcore's popularity in the shoreline communities of [[South Bay, Los Angeles|South Bay]] and [[Orange County, California|Orange County]].<ref>Blush (2001), p. 18; Reynolds (2006), p. 211; Spitz and Mullen (2001), pp. 217–32; Stark (2006), "Dissolution" (pp. 91–93); see also, [http://flipsidefanzine.com/PortalHome.html "Round-Table Discussion: Hollywood Vanguard vs. Beach Punks!"] {{Webarchive|url=https://web.archive.org/web/20070604162955/http://www.flipsidefanzine.com/PortalHome.html |date=June 4, 2007}} (Flipsidezine.com article archive).</ref>

In contrast to North America, more of the bands from the original British punk movement remained active, sustaining extended careers even as their styles evolved and diverged. Meanwhile, the [[Oi!]] and [[anarcho-punk]] movements were emerging. Musically in the same aggressive vein as American hardcore, they addressed different constituencies with overlapping but distinct anti-establishment messages. As described by Dave Laing, "The model for self-proclaimed punk after 1978 derived from the Ramones via the eight-to-the-bar rhythms most characteristic of the Vibrators and Clash [...] It became essential to sound one particular way to be recognized as a 'punk band' now."<ref>Laing (1985), p. 108.</ref> In February 1979, former Sex Pistols bassist Sid Vicious died of a heroin overdose in New York. If the Sex Pistols' breakup the previous year had marked the end of the original UK punk scene and its promise of cultural transformation, for many the death of Vicious signified that it had been doomed from the start.<ref>Savage (1992), p. 530.</ref>

By the turn of the decade, the punk rock movement had split deeply along cultural and musical lines. The "Great Schism" of punk occurred right as the 1980s were approaching, when melodic [[New wave music|new wave]] artists began to separate themselves from [[hardcore punk]]. This left a variety of derivative scenes and forms. On one side were [[New wave music|new wave]] and post-punk artists; some adopted more accessible musical styles and gained broad popularity, while some turned in more experimental, less commercial directions. On the other side, hardcore punk, Oi!, and anarcho-punk bands became closely linked with [[underground culture]]s and spun off an array of [[cross-genre|subgenres]].<ref>Reynolds (2005), p. xvii.</ref> Somewhere in between, [[pop-punk]] groups created blends like that of the ideal record, as defined by [[Mekons]] cofounder Kevin Lycett: "a cross between [[ABBA]] and the Sex Pistols".<ref>Quoted in Wells (2004), p. 21.</ref> A range of other styles emerged, many of them [[Fusion (music)|fusions]] with long-established genres. The Clash album ''[[London Calling]]'', released in December 1979, exemplified the breadth of classic punk's legacy. Combining punk rock with reggae, ska, R&B, and rockabilly, it went on to be acclaimed as one of the best rock records ever.<ref>See, e.g., Spencer, Neil, and James Brown, [http://music.guardian.co.uk/rock/story/0,,1934098,00.html "Why the Clash Are Still Rock Titans"] {{Webarchive|url=https://web.archive.org/web/20071109224609/http://music.guardian.co.uk/rock/story/0,,1934098,00.html |date=November 9, 2007}}, ''The Observer'' (UK), October 29, 2006. Retrieved February 28, 2006.</ref> At the same time, as observed by Flipper singer Bruce Loose, the relatively restrictive hardcore scenes diminished the variety of music that could once be heard at many punk gigs.<ref name="R211"/> If early punk, like most rock scenes, was ultimately male-oriented, the hardcore and Oi! scenes were significantly more so, marked in part by the slam dancing and [[moshing]] with which they became identified.<ref>Namaste (2000), p. 87; Laing (1985), pp. 90–91.</ref>

===New wave===
{{Main|New wave music}}
[[File:Blondie (Debbie Harry) One.jpg|thumb|upright|alt=Singer Debbie Harry is shown onstage at a concert. She is wearing jeans and a T-shirt.|[[Debbie Harry]] performing in Toronto in 1977]]
In 1976—first in London, then in the United States—"New Wave" was introduced as a complementary label for the formative scenes and groups also known as "punk"; the two terms were essentially interchangeable.<ref>Gendron (2002), pp. 269–74.</ref> ''[[NME]]'' journalist [[Roy Carr]] is credited with proposing the term's use (adopted from the cinematic [[French New Wave]] of the 1960s) in this context.<ref>Strongman (2008), p. 134.</ref> Over time, "new wave" acquired a distinct meaning: bands such as [[Blondie (band)|Blondie]] and [[Talking Heads]] from the CBGB scene; [[the Cars]], who emerged from the Rat in Boston; [[the Go-Go's]] in Los Angeles; and [[the Police]] in London that were broadening their instrumental palette, incorporating dance-oriented rhythms, and working with more polished production were specifically designated "new wave" and no longer called "punk". Dave Laing suggests that some punk-identified British acts pursued the new wave label to avoid radio censorship and make themselves more palatable to concert bookers.<ref>Laing (1985), pp. 37.</ref>

Bringing elements of punk rock music and fashion into more pop-oriented, less "dangerous" styles, new wave artists became very popular on both sides of the Atlantic.<ref>Wojcik (1995), p. 22.</ref> New wave became a catch-all term,<ref>Schild, Matt, [http://www.aversion.com/bands/interviews.cfm?f_id=292 "Stuck in the Future"], Aversion.com, July 11, 2005. Retrieved on January 21, 2007.</ref> encompassing disparate styles such as [[2 Tone (music genre)|2 Tone]] ska, the [[mod revival]] inspired by [[the Jam]], the sophisticated pop-rock of [[Elvis Costello]] and [[XTC]], the [[New Romantic]] phenomenon typified by [[Ultravox]], [[synthpop]] groups like [[Tubeway Army]] (which had started out as a straight-ahead punk band) and [[Human League]], and the sui generis subversions of [[Devo]], who had gone "beyond punk before punk even properly existed".<ref>Reynolds (2005), p. 79.</ref> New wave crossed into the mainstream with the debut of the cable television network [[MTV]] in 1981, which put many new wave videos into regular rotation.<ref>[{{AllMusic|class=explore|id=essay/|pure_url=yes}} "New Wave"], AllMusic. Retrieved on January 17, 2007.</ref> According to Stuart Borthwick and Ron Moy, authors of ''Popular Music Genres: an Introduction'', the "height of popularity for new wave" coincided with the [[1979 United Kingdom general election|election of Margaret Thatcher]] in spring 1979.<ref name=Borthwick>{{citation|title=Popular Music Genres: an Introduction|author1=S. Borthwick  |author2=R. Moy  |name-list-style=amp |year=2004 |isbn=978-0-7486-1745-6 |chapter=Synthpop: into the digital age |publisher=Routledge |url=https://books.google.com/books?id=FGPdDwAAQBAJ}}</ref>

===Post-punk===
{{Main|Post-punk}}
[[File:Nick Cave 1986.jpg|thumb|upright|[[Nick Cave]] performing in 1986]]
During 1976–1977, in the midst of the original UK punk movement, bands emerged such as Manchester's [[Joy Division]], [[The Fall (band)|the Fall]], and [[Magazine (band)|Magazine]], Leeds' [[Gang of Four (band)|Gang of Four]], and London's [[the Raincoats]] that became central post-punk figures. Some bands classified as post-punk, such as [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]], had been active well before the punk scene coalesced;<ref>Reynolds (2005), p. xxi.</ref> others, such as [[Siouxsie and the Banshees]] and [[the Slits]], transitioned from punk rock into post-punk. A few months after the Sex Pistols' breakup, [[John Lydon]] (no longer "Rotten") cofounded [[Public Image Ltd]]. [[Lora Logic]], formerly of X-Ray Spex, founded [[Essential Logic]]. [[Killing Joke]] formed in 1979. These bands were often musically experimental; the term "post-punk" is used to describe sounds that were more dark and abrasive—sometimes verging on the [[atonality|atonal]], as with Subway Sect and Wire. The bands incorporated a range of influences ranging from [[Syd Barrett]], [[Captain Beefheart]], [[David Bowie]] to [[Roxy Music]] to [[Krautrock]].

Post-punk brought together a new fraternity of musicians, journalists, managers, and entrepreneurs; the latter, notably [[Geoff Travis]] of [[Rough Trade Records|Rough Trade]] and [[Tony Wilson]] of [[Factory Records|Factory]], helped to develop the production and distribution infrastructure of the [[independent music|indie music]] scene that blossomed in the mid-1980s.<ref>Reynolds (2005), pp. xxvii, xxix.</ref> Smoothing the edges of their style in the direction of new wave, several post-punk bands such as [[New Order (band)|New Order]] and [[the Cure]] crossed over to a mainstream U.S. audience. Others, like Gang of Four, the Raincoats, and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture.<ref>Reynolds (2005), p. xxix.</ref>

Television's debut album ''[[Marquee Moon]]'', released in 1977, is frequently cited as a seminal album in the field.<ref>See, e.g., {{cite web |url-status=dead |url=http://www.rhapsody.com/television/more.html |title=Television |archive-url=https://web.archive.org/web/20071110005347/http://www.rhapsody.com/television/more.html |archive-date=November 10, 2007 |first1=Mike |last1=McGuirk |website=[[Rhapsody (online music service)|Rhapsody]] |postscript=;}} "[{{AllMusic|class=album|id=r19770|pure_url=yes}} Marquee Moon Review]" by Stephen Thomas Erlewine, AllMusic; {{cite web |url-status=dead |url=http://www.popmatters.com/music/reviews/t/television-marquee2003.shtml |title=Television: Marquee Moon (remastered edition) |archive-url=https://web.archive.org/web/20061212122416/http://www.popmatters.com/music/reviews/t/television-marquee2003.shtml |archive-date=December 12, 2006 |first1= Hunter |last1=Felt |website=[[PopMatters]]}} All retrieved January 15, 2007.</ref> The [[no wave]] movement that developed in New York in the late 1970s, with artists such as [[Lydia Lunch]] and [[James Chance]], is often treated as the phenomenon's U.S. parallel.<ref>Buckley (2003), p. 13; Reynolds (2005), pp. 1–2.</ref> The later work of Ohio protopunk pioneers [[Pere Ubu]] is also commonly described as post-punk.<ref>See. e.g., Reynolds (1999), p. 336; Savage (2002), p. 487.</ref> One of the most influential American post-punk bands was Boston's [[Mission of Burma]], who brought abrupt rhythmic shifts derived from hardcore into a highly experimental musical context.<ref>Harrington (2002), p. 388.</ref> In 1980, the Boys Next Door moved from [[Melbourne]], Australia to London and changed their name to [[The Birthday Party (band)|the Birthday Party]], which evolved into [[Nick Cave and the Bad Seeds]]. Melbourne's [[Little band scene]] further explored the possibilities of post-punk and gave rise to acts such as [[Dead Can Dance]].<ref>{{cite book |last=Delaney |first=Cornelius |date=2020 |title=Urban Australia and Post-Punk: Exploring Dogs in Space |chapter=We're the Most Fabulous People Australia Has Ever Known |location= |publisher=Springer Nature Singapore |pages=73–80 |isbn=}}</ref><ref>Potts, Adrian (May 2008), [https://archive.today/20120919123354/http://www.viceland.com/int/v15n5/htdocs/big-and-ugly-109.php "Big and Ugly"], ''Vice''. Retrieved on December 11, 2010.</ref> The original post-punk bands were highly influential on 1990s and 2000s [[alternative rock]] musicians.<ref>See Thompson (2000), p. viii.</ref>

===Hardcore===
{{Main|Hardcore punk}}
[[File:Bad brains 1983.jpg|thumb|upright=1.05|left|Bad Brains at 9:30 Club, Washington, D.C., 1983]]
A distinctive style of punk, characterized by superfast, aggressive beats, [[screaming (music)|screaming vocals]], and often politically aware lyrics, began to emerge in 1978 among bands scattered around the United States and Canada. The first major scene of what came to be known as hardcore punk developed in Southern California in 1978–79, initially around such punk bands as [[Germs (band)|the Germs]] and [[Fear (band)|Fear]].<ref>Blush (2001), pp. 16–17; Sabin (1999) p. 4</ref> The movement soon spread around North America and internationally.<ref name="andersen"/><ref name="hardcore"/> According to author [[Steven Blush]], "Hardcore comes from the bleak suburbs of America. Parents moved their kids out of the cities to these horrible suburbs to save them from the 'reality' of the cities and what they ended up with was this new breed of monster".<ref name="blush"/> In 1981, hardcore punk was exposed to mainstream television audiences following a live performance from Fear on ''[[Saturday Night Live]]'', which prompted a live-broadcast riot and [[Moshing|mosh pit]], which included members of the emerging hardcore scene such as [[Ian MacKaye]], [[Harley Flanagan]], [[Tesco Vee]], and [[John Brannon (musician)|John Brannon]].<ref name="callwood">{{cite web |last1=Callwood |first1=Frank |title=10 Hardcore Albums for People Who Don't Know Shit About Hardcore |url=https://www.laweekly.com/10-hardcore-albums-for-people-who-dont-know-shit-about-hardcore/ |website=[[LA Weekly]] |date=December 18, 2017 |access-date=February 23, 2023 |archive-date=February 24, 2023 |archive-url=https://web.archive.org/web/20230224052720/https://www.laweekly.com/10-hardcore-albums-for-people-who-dont-know-shit-about-hardcore/ |url-status=live }}</ref><ref name="burrows">{{cite web |last1=Burrows |first1=Alex |title=Watch 80s punk brawlers Fear upset everyone on Saturday Night Live in 1981 |url=https://www.loudersound.com/features/watch-80s-punk-brawlers-fear-upset-everyone-on-saturday-night-live-in-1981 |website=[[LouderSound]] |date=February 10, 2021 |access-date=February 23, 2023 |archive-date=February 24, 2023 |archive-url=https://web.archive.org/web/20230224053531/https://www.loudersound.com/features/watch-80s-punk-brawlers-fear-upset-everyone-on-saturday-night-live-in-1981 |url-status=live }}</ref>

Among the earliest hardcore bands, regarded as having made the first recordings in the style, were Southern California's [[Middle Class (band)|Middle Class]] and [[Black Flag (band)|Black Flag]].<ref name="hardcore">Blush (2001), p. 17</ref> [[Bad Brains]] — all of whom were black, a rarity in punk of any era – launched the [[Washington, D.C. hardcore|D.C. scene]] with their rapid-paced single "[[Pay to Cum]]" in 1980.<ref name="andersen">Andersen and Jenkins (2001). {{page needed|date=March 2021}}</ref> Austin, Texas's [[Big Boys (band)|Big Boys]], San Francisco's [[Dead Kennedys]], and Vancouver's [[D.O.A. (band)|D.O.A.]] were among the other initial hardcore groups.{{citation needed|date=March 2021}} They were soon joined by bands such as the [[Minutemen (band)|Minutemen]], [[Descendents (band)|Descendents]], and [[Circle Jerks]] in Southern California; D.C.'s [[Minor Threat]] and [[State of Alert]]; and Austin's [[MDC (band)|MDC]]. By 1981, hardcore was the dominant punk rock style not only in California but much of the rest of North America as well.<ref>Blush (2001), pp. 12–21.</ref> A [[New York hardcore]] scene grew, including the relocated Bad Brains, New Jersey's [[Misfits (band)|Misfits]] and [[Adrenalin O.D.]], and local acts such as [[The Mob (American hardcore band)|the Mob]], [[Reagan Youth]], and [[Agnostic Front]]. [[Beastie Boys]], who would become famous as a hip-hop group, debuted that year as a hardcore band. They were followed by [[the Cro-Mags]], [[Murphy's Law (band)|Murphy's Law]], and [[Leeway (band)|Leeway]].<ref>Andersen and Jenkins (2001), p. 89; Blush (2001), p. 173; {{cite web|author=Diamond, Mike|title=Beastie Boys Biography|publisher=Sing365.com|url=http://www.sing365.com/music/lyric.nsf/Beastie-Boys-Biography/0B982363068317484825682C0009A5AE|access-date=2008-01-04|url-status=dead|archive-url=https://web.archive.org/web/20060504005325/http://www.sing365.com/music/lyric.nsf/Beastie-Boys-Biography/0B982363068317484825682C0009A5AE|archive-date=May 4, 2006}}</ref> By 1983, [[Minneapolis hardcore|St. Paul]]'s [[Hüsker Dü]], Willful Neglect, Chicago's [[Naked Raygun]], Indianapolis's [[Zero Boys]], and D.C.'s [[The Faith (American band)|the Faith]] were taking the hardcore sound in experimental and ultimately more melodic directions.<ref name='guardian'>{{cite web | url = https://www.theguardian.com/music/2011/oct/27/faith-void-dischord-washington-hardcore-punk | title = The Faith and Void: the glorious Dischord of 1980s harDCore punk | access-date = August 16, 2012 | last = Finn | first = Craig | date = October 27, 2011 | work = [[The Guardian]] | archive-date = October 6, 2016 | archive-url = https://web.archive.org/web/20161006064138/https://www.theguardian.com/music/2011/oct/27/faith-void-dischord-washington-hardcore-punk | url-status = live }}</ref> Hardcore would constitute the American punk rock standard throughout the decade.<ref>Leblanc (1999), p. 59.</ref> The lyrical content of hardcore songs is often critical of commercial culture and middle-class values, as in Dead Kennedys' celebrated "[[Holiday in Cambodia]]" (1980).<ref name="vandorston">Van Dorston, A.S., [https://web.archive.org/web/20000510062822/http://www.fastnbulbous.com/punk.htm "A History of Punk"], fastnbulbous.com, January 1990. Retrieved on December 30, 2006.</ref>

[[Straight edge]] bands like Minor Threat, [[Boston hardcore|Boston]]'s [[SS Decontrol]], and Reno, Nevada's [[7 Seconds (band)|7 Seconds]] rejected the self-destructive lifestyles of their peers, and built a movement based on positivity and abstinence from cigarettes, alcohol, drugs, and casual sex.<ref>Haenfler (2006) {{page needed|date=March 2021}}</ref>

Skate punk innovators pointed in other directions: including Venice, California's [[Suicidal Tendencies]] who had a formative effect on the [[heavy metal music|heavy metal]]–influenced [[crossover thrash]] style. Toward the middle of the decade, [[Dirty Rotten Imbeciles|D.R.I]] spawned the superfast [[thrashcore]] genre.<ref>Weinstein (2000), p. 49.</ref>

== 1985–present: Legacy and revival ==

===Alternative rock===
{{Main|Alternative rock}}
[[File:Dave Grohl 1989.jpg|thumb|right|alt=A drummer, Dave Grohl, is playing drumkit. He is not wearing a shirt and his long hair is wet.|[[Dave Grohl]], later of [[Nirvana (band)|Nirvana]], in 1989]] 
The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or brought its outsider spirit to very different kinds of music. The original punk explosion also had a long-term effect on the music industry, spurring the growth of the independent sector.<ref>Laing (1985), pp. 118, 128.</ref> During the early 1980s, British bands like [[New Order (band)|New Order]] and the Cure that straddled the lines of post-punk and new wave developed both new musical styles and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an underground-style, [[subculture|subcultural]] identity.<ref>Goodlad and Bibby (2007), p. 16.</ref> In the United States, bands such as Hüsker Dü and their Minneapolis protégés [[The Replacements (band)|the Replacements]] bridged the gap between punk rock genres like hardcore and the more melodic, explorative realm of what was then called "[[college rock]]".<ref>Azerrad (2001), passim; for relationship of Hüsker Dü and the Replacements, see pp. 205–6.</ref>
 
In 1985, ''[[Rolling Stone]]'' declared that "Primal punk is passé. The best of the American punk rockers have moved on. They have learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than shouted political slogans. Some of them have even discovered the [[Grateful Dead]]."<ref>[http://www.thirdav.com/zinestuff/rs452.html Goldberg, Michael, "Punk Lives"] {{Webarchive|url=https://web.archive.org/web/20080506143545/http://www.thirdav.com/zinestuff/rs452.html|date=May 6, 2008}}, ''Rolling Stone'', July 18 – August 1, 1985.</ref> By the mid-to-late 1980s, these bands, who had largely eclipsed their punk rock and post-punk forebears in popularity, were classified broadly as [[alternative rock]]. Alternative rock encompasses a diverse set of styles—including [[indie rock]], [[gothic rock]], [[dream pop]], [[shoegazing|shoegaze]], and [[grunge]], among others—unified by their debt to punk rock and their origins outside of the musical mainstream.<ref name="Erlewine">{{cite news |author=Erlewine, Stephen Thomas |date=September 23, 2011 |title=American Alternative Rock/Post-Punk |url=http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |url-status=live |archive-url=https://web.archive.org/web/20131102005827/http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |archive-date=November 2, 2013 |access-date=2011-11-07 |website=AllMusic}}</ref>

As American alternative bands like [[Sonic Youth]], which had grown out of the "no-wave" scene, and Boston's [[Pixies (band)|Pixies]] started to gain larger audiences, major labels sought to capitalize on the underground market.<ref>Friedlander and Miller (2006), pp. 256, 278.</ref> In 1991, [[Nirvana (band)|Nirvana]] emerged from Washington State's underground, DIY grunge scene; after recording their first album, ''[[Bleach (Nirvana album)|Bleach]]'' in 1989 for about $600, the band achieved huge (and unexpected) commercial success with its second album, ''[[Nevermind]]''. The band's members cited punk rock as a key influence on their style.<ref>[http://www.thebiographychannel.co.uk/biography_story/691:1872/1/Kurt_Donald_Cobain.htm "Kurt Donald Cobain"] {{webarchive|url=https://web.archive.org/web/20061112223901/http://www.thebiographychannel.co.uk/biography_story/691%3A1872/1/Kurt_Donald_Cobain.htm|date=November 12, 2006}}, Biography Channel. Retrieved on November 19, 2006.</ref> "Punk is musical freedom", wrote frontman [[Kurt Cobain]]. "It's saying, doing, and playing what you want."<ref>Quoted in St. Thomas (2004), p. 94.</ref> Nirvana's success opened the door to mainstream popularity for a wide range of other "left-of-the-dial" acts, such as [[Pearl Jam]] and [[Red Hot Chili Peppers]], and fueled the alternative rock boom of the early and mid-1990s.<ref name="Erlewine" /><ref>{{cite news |author=Morgenstein, Mark |date=September 23, 2011 |title='Nevermind,' Never Again? |url=http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |url-status=live |archive-url=https://web.archive.org/web/20131102005827/http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |archive-date=November 2, 2013 |access-date=2011-10-27 |publisher=CNN}}</ref>

=== Metal-rap-punk fusion ===
{{See also|Rage Against the Machine}}
During the early 1990s, new alternative forms of punk rock began to fuse with [[Heavy metal music|heavy metal]] and [[hip hop music]]. [[Rage Against the Machine]] released their eponymous debut studio album ''[[Rage Against the Machine (album)|Rage Against the Machine]]'' in November 1992, to commercial and critical acclaim. The band presented itself with politically themed, [[revolutionary]] lyrical content, accompanied by the aggressive vocal delivery of lead singer [[Zack de la Rocha]]. Rage Against the Machine would go on to achieve back-to-back number 1 debuts on the [[Billboard 200]], with their second studio album, ''[[Evil Empire (album)|Evil Empire]]'' (1996), and their third studio album, [[The Battle of Los Angeles (album)|''The Battle of Los Angeles'']] (1999).

In a 2016 interview with Audio Ink Radio, Rage Against the Machine bassist [[Tim Commerford]] was asked about the band's status as a punk band:<ref>{{Cite web |date=August 31, 2016 |title=Rage Against the Machine is a Punk Band, Says Tim Commerford |url=https://audioinkradio.com/2016/08/rage-against-the-machine-punk-band-tim-commerford/ |access-date=2022-06-12 |website=Audio Ink Radio |language=en-US}}</ref>

{{Blockquote|text=Rage is a punk band. We were a punk band and our ethics were punk. We didn't do anything that anyone wanted us to do. We only did what we wanted to do and that is the essence of punk rock.|author=Tim Commerford}}

===Queercore===
[[File:PansyDivision2016.jpg|thumb|right|Queercore band Pansy Division performing in 2016]]
{{Further|Queercore}}

In the 1990s, the queercore movement developed around a number of punk bands with gay, lesbian, bisexual, or genderqueer members such as [[God Is My Co-Pilot (band)|God Is My Co-Pilot]], [[Pansy Division]], [[Team Dresch]], and [[Sister George]]. Inspired by openly gay punk musicians of an earlier generation such as [[Jayne County]], [[Phranc]], and [[Randy Turner]], and bands like [[Nervous Gender]], [[the Screamers]], and [[Coil (band)|Coil]], queercore embraces a variety of punk and other alternative music styles. Queercore lyrics often treat the themes of prejudice, [[sexual identity]], [[gender identity]], and individual rights. The movement has continued into the 21st century, supported by festivals such as [[Queeruption]].<ref>Spencer (2005), pp. 279–89.</ref>

=== Riot grrrl ===
{{Further|Riot grrrl}}

[[File:Bratmobile.jpg|thumb|left|Riot grrrl band Bratmobile in 1994]]
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.<ref name="Garrison 141–170">{{cite journal |last=Garrison |first=Ednie Kaeh |date=Spring 2000 |title=U.S. Feminism-Grrrl Style! Youth (Sub)Cultures and the Technologics of the Third Wave |journal=[[Feminist Studies (journal)|Feminist Studies]] |volume=26 |issue=1 |pages=141–170 |doi=10.2307/3178596 |jstor=3178596|hdl=2027/spo.0499697.0026.108 |hdl-access=free }}</ref><ref name="EmilyWhite">{{cite journal |last=White |first=Emily |date=September 25, 1992 |title=Revolution Girl-Style Now!: Notes From the Teenage Feminist Rock 'n' Roll Underground |journal=The Chicago Reader}}</ref>

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 (band)|L7]], and [[Mecca Normal]].<ref>Raha (2005), p. 154.</ref> The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene.<ref>Jackson (2005), pp. 261–62.</ref> This movement relied on media and technology to spread their ideas and messages, creating a cultural-technological space for feminism to voice their concerns.<ref name="Garrison 141–170" /> 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.<ref name="EmilyWhite" /> Tammy Rae Carbund, from [[Mr. Lady Records]], explains that without riot grrrl bands, "[women] would have all starved to death culturally."<ref>{{cite news |last=Loftus |first=Jamie |date=April 8, 2015 |title=A Brief History of the Riot Grrrl Movement in Honor of Boston's Riot Grrrl Day |url=http://www.bdcwire.com/a-brief-history-of-the-riot-grrrl-movement-in-honor-of-bostons-riot-grrrl-day/ |url-status=live |archive-url=https://web.archive.org/web/20180317102035/http://www.bdcwire.com/a-brief-history-of-the-riot-grrrl-movement-in-honor-of-bostons-riot-grrrl-day/ |archive-date=March 17, 2018 |access-date=March 16, 2018 |website=bdcwire}}</ref>

Singer-guitarists [[Corin Tucker]] of Heavens to Betsy and [[Carrie Brownstein]] of [[Excuse 17]], bands active in both the queercore and riot grrrl scenes, cofounded the indie/punk band [[Sleater-Kinney]] in 1994. Bikini Kill's lead singer, [[Kathleen Hanna]], the iconic figure of riot grrrl, moved on to form the [[art punk]] group [[Le Tigre]] in 1998.<ref>McGowen, Brice. [http://www.unc.edu/glbtsa/lambda/articles/28/3/letigre.htm "Eye of the Tiger"] {{webarchive|url=https://web.archive.org/web/20071205020338/http://www.unc.edu/glbtsa/lambda/articles/28/3/letigre.htm|date=December 5, 2007}}. ''Lamda'', February/March 2005. Retrieved on November 26, 2007.</ref>
{{clear}}

===Punk revival and mainstream success===
[[File:RiP2013 GreenDay Billie Joe Armstrong 0017.jpg|thumb|left|alt=Two members of rock band Green Day shown onstage at a concert. From left to right, singer/guitarist Billie Joe Armstrong and bass guitarist Mike Dirnt. Behind them are a row of large guitar speaker cabinets. Billie Joe gestures with both hands to the audience.|[[Green Day]] frontman [[Billie Joe Armstrong]], with bassist [[Mike Dirnt]] to the right. Green Day is credited with reviving mainstream interest in punk rock in the United States.|upright]]
[[File:NOFX2.jpg|thumb|[[NOFX]] in 2007]]
Late 1970s punk music was anti-conformity and anti-mainstream and achieved limited commercial success. By the 1990s, punk rock was sufficiently ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels". Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automobile, the [[Subaru Impreza]], claimed that the car was "like punk rock".<ref>Klein (2000), p. 300.</ref>

In 1993, California's [[Green Day]] and [[Bad Religion]] were both signed to major labels. The next year, Green Day put out ''[[Dookie (album)|Dookie]],'' which sold nine million albums in the United States in just over two years.<ref name="RIAAD">See, e.g., [https://www.riaa.com/goldandplatinumdata.php?table=SEARCH Searchable Database—Gold and Platinum] {{webarchive|url=https://web.archive.org/web/20070626050454/http://www.riaa.com/goldandplatinumdata.php?table=SEARCH|date=June 26, 2007}}, RIAA. Retrieved on December 2, 2007.</ref> Bad Religion's ''[[Stranger than Fiction (Bad Religion album)|Stranger Than Fiction]]'' was certified [[RIAA certification|gold]].<ref>Fucoco, Christina (November 1, 2000), [http://www.livedaily.com/news/2098.html "Punk Rock Politics Keep Trailing Bad Religion"] {{webarchive|url=https://web.archive.org/web/20091015235600/http://www.livedaily.com/news/2098.html|date=October 15, 2009}}, liveDaily. Retrieved on September 1, 2008.</ref> Other California punk bands on the independent label [[Epitaph Records|Epitaph]], run by Bad Religion guitarist [[Brett Gurewitz]], also began achieving mainstream popularity. In 1994, Epitaph released ''[[Let's Go (Rancid album)|Let's Go]]'' by [[Rancid (band)|Rancid]], ''[[Punk in Drublic]]'' by [[NOFX]], and ''[[Smash (The Offspring album)|Smash]]'' by [[the Offspring]], each eventually certified gold or better. That June, Green Day's "[[Longview (song)|Longview]]" reached number one on ''Billboard''{{'}}s [[Alternative Songs|Modern Rock Tracks]] chart and became a top forty airplay hit, arguably the first ever American punk song to do so; just one month later, the Offspring's "[[Come Out and Play (The Offspring song)|Come Out and Play]]" followed suit. [[MTV]] and radio stations such as Los Angeles' [[KROQ-FM]] played a major role in these bands' crossover success, though NOFX refused to let MTV air its videos.<ref name="punkbroke">Gold, Jonathan. "The Year Punk Broke." ''SPIN''. November 1994.</ref>

Following the lead Boston's [[The Mighty Mighty Bosstones|Mighty Mighty Bosstones]] and Anaheim's [[No Doubt]], [[ska punk]] and ska-core became widely popular in the mid-1990s.<ref>Hebdige (1987), p. 111.</ref> ''[[...And Out Come the Wolves]]'', the 1995 album by Rancid became the first record in the ska revival to be certified gold;{{refn|group=nb|'' ... And Out Come the Wolves'' was certified gold in January 1996. ''Let's Go'', Rancid's previous album, received gold certification in July 2000.}} Sublime's [[Sublime (album)|self-titled 1996 album]] was certified platinum early in 1997.<ref name="RIAAD" /> In Australia, two popular groups, skatecore band [[Frenzal Rhomb]] and pop-punk act [[Bodyjar]], also established followings in Japan.<ref>Eliezer, Christie. "Trying to Take Over the World". ''Billboard''. September 28, 1996, p. 58; Eliezer, Christie. "The Year in Australia: Parallel Worlds and Artistic Angles". ''Billboard''. December 27, 1997 – January 3, 1998, p. YE-16.</ref>

Green Day and ''Dookie''{{'}}s enormous sales paved the way for a host of bankable North American pop-punk bands in the following decade.<ref>D'Angelo, Joe, [http://www.mtv.com/news/articles/1491001/20040915/green_day.jhtml "How Green Day's ''Dookie'' Fertilized A Punk-Rock Revival"] {{Webarchive|url=https://web.archive.org/web/20080110163525/http://www.mtv.com/news/articles/1491001/20040915/green_day.jhtml|date=January 10, 2008}}, MTV.com, September 15, 2004. Retrieved on December 3, 2007.</ref> With punk rock's renewed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream.<ref name="punkbroke" /> They argued that by signing to major labels and appearing on MTV, punk bands like Green Day were buying into a system that punk was created to challenge.<ref>Myers (2006), p. 120.</ref> Such controversies have been part of the punk culture since 1977 when the Clash were widely accused of "selling out" for signing with [[Columbia Records|CBS Records]].<ref>Knowles (2003), p. 44.</ref> The Vans [[Warped Tour]] and the mall chain store [[Hot Topic]] brought punk even further into the U.S. mainstream.<ref>Diehl (2007), pp. 2, 145, 227.</ref>

The Offspring's 1998 album ''[[Americana (The Offspring album)|Americana]]'', released by the major [[Columbia Records|Columbia]] label, debuted at number two on the album chart. A bootleg MP3 of ''Americana''{{'s}} first single, "[[Pretty Fly (for a White Guy)]]", made it onto the Internet and was downloaded a record 22 million times—illegally.<ref>Diehl (2003), p. 72.</ref> The following year, ''[[Enema of the State]]'', the first fully major-label release by pop-punk band [[Blink-182]], reached the top ten and sold four million copies in under twelve months.<ref name="RIAAD" /> On February 19, 2000, the album's second single, "[[All the Small Things]]", peaked at number 6 on the [[Billboard Hot 100|''Billboard'' Hot 100]]. While they were viewed as Green Day "acolytes",<ref name="Spitz144">Spitz (2006), p. 144.</ref> critics also found [[teen pop]] acts such as [[Britney Spears]], the [[Backstreet Boys]], and [['N Sync]] suitable points of comparison for Blink-182's sound and market niche.<ref>Blasengame, Bart. "Live: Blink-182". ''Spin''. September 2000, p. 80; Pappademas, Alex. "Blink-182: ''The Mark, Tom and Travis Show: The Enema Strikes Back''". ''Spin''. December 2000, p. 222.</ref> The band's ''[[Take Off Your Pants and Jacket]]'' (2001) and ''[[Blink-182 (album)|Untitled]]'' (2003) respectively rose to numbers one and three on the album chart. In November 2003, ''[[The New Yorker]]'' described how the "giddily puerile" act had "become massively popular with the mainstream audience, a demographic formerly considered untouchable by punk-rock purists."<ref>"Goings On About Town: Nightlife". ''The New Yorker''. November 10, 2003, p. 24.</ref>

Other new North American pop-punk bands, though often critically dismissed, also achieved major sales in the first decade of the 2000s. Ontario's [[Sum 41]] reached the Canadian top ten with its 2001 debut album, ''[[All Killer No Filler]]'', which eventually went platinum in the United States. The record included the number one U.S. Alternative hit "[[Fat Lip]]", which incorporated verses of what one critic called "brat rap".<ref>Sinagra (2004), p. 791.</ref> Elsewhere around the world, "[[psychobilly|punkabilly]]" band [[the Living End]] became major stars in Australia with their [[The Living End (The Living End album)|self-titled 1998 debut]].<ref>{{cite magazine |author=Aiese, Eric |date=February 27, 2001 |title=Living End 'Rolls On' with Aussie Punkabilly Sound |url=http://www.billboard.com/articles/news/80523/living-end-rolls-on-with-aussie-punkabilly-sound |url-status=live |archive-url=https://web.archive.org/web/20130523183637/http://www.billboard.com/articles/news/80523/living-end-rolls-on-with-aussie-punkabilly-sound |archive-date=May 23, 2013 |access-date=February 1, 2011 |magazine=Billboard}}</ref>

Additionally in the early 2000s, attention within punk circles was drawn to the [[Afro-punk]] movement and contributions of people of African descent to punk music. Much of this attention was derived from the [[Afro-Punk (film)|eponymous documentary]] released in 2003.<ref>{{Cite web |last=Maloney |first=Devon |date=August 21, 2013 |title=Afropunk Started With a Documentary. Ten Years, Two Websites, and Eight Festivals Later... |url=https://www.villagevoice.com/afropunk-started-with-a-documentary-ten-years-two-websites-and-eight-festivals-later/ |access-date=2024-10-03 |website=The Village Voice |language=en-US}}</ref>

The effect of commercialization on the music became an increasingly contentious issue. As observed by scholar Ross Haenfler, many punk fans "despise corporate punk rock", typified by bands Sum&nbsp;41 and Blink-182.<ref>Haenfler (2006), p. 12.</ref>

== Other influential subgenres ==

===Oi!===
{{Main|Oi!}}
{{Listen
|filename=The Exploited Punks not dead.ogg
|title="Punks Not Dead"
|description=The title track of [[the Exploited]]'s debut, ''[[Punks Not Dead]]'', the top independent UK album of 1981.<ref>Hess (2007), p. 165.</ref> The song exemplifies the Oi! sound as "harsher, darker, and cruder" than first-wave punk.<ref>Lamey and Robbins (1991), p. 230.</ref>
}}

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.{{sfn|Sabin|1999|loc=p. 216 n. 17}}<ref>Dalton, Stephen, "Revolution Rock", Vox, June 1993.</ref> They believed the music needed to stay "accessible and unpretentious", in the words of music historian [[Simon Reynolds]].<ref>Reynolds (2005), p. 1.</ref> Their style was originally called "real punk" or [[street punk]]; ''[[Sounds (magazine)|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!"<ref>Robb (2006), p. 469.</ref>

The Oi! movement was fueled by a sense that many participants in the early punk rock scene were, in the words of [[The Business (band)|the Business]] guitarist Steve Kent, "trendy university people using long words, trying to be artistic&nbsp;... and losing touch".<ref>Quoted in Robb (2006), pp. 469–70.</ref> According to Bushell, "Punk was meant to be of the voice of [[the dole]] queue, and in reality, most of them were not. But Oi was the reality of the punk mythology. In the places where [these bands] came from, it was harder and more aggressive and it produced just as much quality music."<ref>Robb (2006), p. 470.</ref> Lester Bangs described Oi! as "politicized football chants for unemployed louts".<ref>Bangs, Lester. "If Oi Were a Carpenter". ''Village Voice''. April 27, 1982.</ref> One song in particular, the Exploited's "Punks Not Dead", spoke to an international constituency. It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as ''bandas''; one ''banda'' named itself PND, after the song's initials.<ref>Berthier (2004), p. 246.</ref>

Although most Oi! bands in the initial wave were apolitical or left wing, many of them began to attract a [[white power skinhead]] following. Racist skinheads sometimes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the "middle-class establishment".<ref name="tzvi">Fleischer, Tzvi. [http://www.aijac.org.au/review/2000/258/sounds.html "Sounds of Hate"] {{webarchive|url=https://web.archive.org/web/20051214043644/http://www.aijac.org.au/review/2000/258/sounds.html |date=December 14, 2005}}. Australia/Israel & Jewish Affairs Council (AIJAC), August 2000. Retrieved on January 14, 2007.</ref> In the popular imagination, the movement thus became linked to the far right.<ref>Robb (2006), pp. 469, 512.</ref> ''[[Strength Thru Oi!]]'', an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a [[Neo-Nazism|neo-Nazi]] jailed for racist violence (Bushell claimed ignorance).<ref name=Bushell>{{cite web|author=Bushell, Garry|url=http://www.garry-bushell.co.uk/oi/index.asp |title=Oi!—The Truth|publisher=garry-bushell.co.uk|access-date=2010-12-23 |archive-url=https://web.archive.org/web/20080731120915/http://www.garry-bushell.co.uk/oi/index.asp |archive-date=2008-07-31}}</ref> On July 3, a concert at Hamborough Tavern in [[Southall]] featuring the Business, the 4-Skins, and the Last Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering.<ref>Gimarc (1997), p. 175; Laing (1985), p. 112.</ref> Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum.<ref name=Robb511>Robb (2006), p. 511.</ref>
{{clear}}

===Anarcho-punk===
{{Main|Anarcho-punk}}
[[File:Crass3.jpg|thumb|alt=Two members of the rock band Crass are shown at a performance. From left to right are an electric guitarist and a singer. Both are dressed in all-black clothing. The singer is making a hand gesture.|[[Crass]] were the originators of anarcho-punk.<ref name="W35">Wells (2004), p. 35.</ref> Spurning the "cult of rock star personality", their plain, all-black dress became a staple of the genre.<ref>Hardman (2007), p. 5.</ref>]]
Anarcho-punk developed alongside the Oi! and American hardcore movements. Inspired by [[Crass]], its [[Dial House, Essex|Dial House]] commune, and its independent [[Crass Records]] label, a scene developed around British bands such as [[Subhumans (British band)|Subhumans]], [[Flux of Pink Indians]], [[Conflict (band)|Conflict]], [[Poison Girls]], and [[The Apostles (band)|the Apostles]] that was as concerned with anarchist and DIY principles as it was with music. Several Crass members were of an older generation of artist and cultural provocateur and thus linked their version of punk directly back to the 1960s counterculture and early 1970s avant-gardism.<ref>McKay 1996, chapter 3.</ref> The acts featured ranting vocals, discordant instrumental sounds, seemingly primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.<ref name=G170>Gosling (2004), p. 170.</ref> Anarcho-punk disdained the older punk scene from which theirs had evolved. In historian Tim Gosling's description, they saw "safety pins and Mohicans as little more than ineffectual fashion posturing stimulated by the mainstream media and industry. [...] Whereas the Sex Pistols would proudly display bad manners and opportunism in their dealings with 'the establishment,' the anarcho-punks kept clear of 'the establishment' altogether".<ref>Gosling (2004), pp. 169–70.</ref>

The movement spun off several subgenres of a similar political bent. [[Discharge (band)|Discharge]], founded back in 1977, established [[D-beat]] in the early 1980s. Other groups in the movement, led by [[Amebix]] and [[Antisect]], developed the extreme style known as [[crust punk]]. Several of these bands rooted in anarcho-punk such as [[the Varukers]], Discharge, and Amebix, along with former Oi! groups such as [[the Exploited]] and bands from farther afield like Birmingham's [[Charged GBH]], became the leading figures in the [[UK 82]] hardcore movement. The anarcho-punk scene also spawned bands such as [[Napalm Death]], [[Carcass (band)|Carcass]], and [[Extreme Noise Terror]] that in the mid-1980s defined [[grindcore]], incorporating extremely fast tempos and [[death metal]]–style guitarwork.<ref>Purcell (2003), pp. 56–57.</ref> Led by Dead Kennedys, a U.S. anarcho-punk scene developed around such bands as Austin's [[MDC (band)|MDC]] and Southern California's Another Destructive System.<ref>{{cite web |url=http://sosrecords.us/label/taxonomy/term/1 |title=News Items|website=SOS Records|date=March 12, 2007|archive-url=https://web.archive.org/web/20071218223342/http://sosrecords.us/label/taxonomy/term/1 |archive-date=December 18, 2007}} [http://www.animamundi.org/links.html Links] {{Webarchive|url=https://web.archive.org/web/20050227185258/http://www.animamundi.org/links.html |date=February 27, 2005 }} Anima Mundi. Both retrieved on November 25, 2007.</ref>

===Pop-punk===
{{Main|Pop-punk}}
[[File:Ben-weasel2.jpg|thumb|upright|[[Ben Weasel]] of pop-punk band Screeching Weasel]]
With their love of [[the Beach Boys]] and late 1960s [[bubblegum pop]], the Ramones paved the way to what became known as pop-punk.<ref>Besssman (1993), p. 16; Carson (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p. 206.</ref> In the late 1970s, UK bands such as [[Buzzcocks]] and [[the Undertones]] combined pop-style tunes and lyrical themes with punk's speed and chaotic edge.<ref>Cooper, Ryan. [http://punkmusic.about.com/od/artistprofiles/p/buzzcocksfinal.htm "The Buzzcocks, Founders of Pop Punk"] {{Webarchive|url=https://web.archive.org/web/20120204233639/http://punkmusic.about.com/od/artistprofiles/p/buzzcocksfinal.htm |date=February 4, 2012 }}. About.com. Retrieved on December 16, 2006.</ref> In the early 1980s, some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist [[Ben Myers]], [[Bad Religion]] "layered their pissed off, politicized sound with the smoothest of harmonies"; [[Descendents (band)|Descendents]] "wrote almost surfy, Beach Boys-inspired songs about girls and food and being young(ish)".<ref>Myers (2006), p. 52.</ref> [[Epitaph Records]], founded by [[Brett Gurewitz]] of Bad Religion, was the base for many future pop-punk bands. The mainstream pop-punk of latter-day bands such as [[Blink-182]] or [[Green Day]] are criticized by many punk rock fans; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures."<ref>Di Bella, Christine. [https://www.popmatters.com/blink-182-020611-2496087285.html "Blink 182 + Green Day"]. PopMatters.com. June 11, 2002. [https://web.archive.org/web/20070323083826/http://www.popmatters.com/music/concerts/b/blink-182-020611.shtml Archived] on March 23, 2007. Retrieved on February 4, 2007.</ref>

===Fusions and directions===
{{see also|Punk rock subgenres}}
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.<ref>Porter (2007), p. 86.</ref> Milwaukee's [[Violent Femmes]] jumpstarted the American [[folk punk]] scene, while [[the Pogues]] did the same on the other side of the [[Atlantic Ocean|Atlantic]].<ref>Hendrickson, Tad. [https://www.npr.org/templates/story/story.php?storyId=101915358 "Irish Pub-Rock: Boozy Punk Energy, Celtic Style"] {{Webarchive|url=https://web.archive.org/web/20180904225820/https://www.npr.org/templates/story/story.php?storyId=101915358 |date=September 4, 2018 }}. NPR Music, March 16, 2009. Retrieved on November 12, 2010.</ref> Other artists to fuse elements of [[folk music]] into punk included [[R.E.M.]] and [[the Proclaimers]].<ref name="ReidLyrics">{{cite book |last1=Reid |first1=Craig |last2=Reid |first2=Charles |title=The Proclaimers Lyrics |date=2014 |publisher=Coffee Table Digital Publishing |isbn=9780993117794 |url=https://books.google.com/books?id=VYmWBQAAQBAJ&pg=PT164 |access-date=March 14, 2020 |archive-date=May 4, 2021 |archive-url=https://web.archive.org/web/20210504181433/https://books.google.com/books?id=VYmWBQAAQBAJ&pg=PT164 |url-status=live }}</ref>

==See also==
{{Portal|Rock music}}
*[[Punk ideologies]]
*[[Women in punk rock]]

==Suggested viewing==
* ''[[American Hardcore (film)|American Hardcore]]'' (2006, dir. [[Paul Rachman]]) – American hardcore punk scene
* ''[[Another State of Mind (film)|Another State of Mind]]'' (1984, dir. Adam Small, Peter Stuart) – [[Social Distortion]] and [[Youth Brigade (band)|Youth Brigade]] on tour, also [[Minor Threat]]
* ''[[The Clash: Westway to the World]]'' (2000, dir. [[Don Letts]]) – Story of the [[The Clash|Clash]]
* ''[[The Damned: Don't You Wish That We Were Dead]]'' (2015, dir. Wes Orshoski) – Story of [[The Damned (band)|The Damned]]
* ''[[The Decline of Western Civilization]]'' (1981, dir. [[Penelope Spheeris]]) – Early Los Angeles punk scene
* ''[[D.O.A.: A Rite of Passage]]'' (2014, dir. Craig DeLuz, Michael Allen) – Origins of punk rock
* ''[[The Filth and the Fury]]'' (2000, dir. Julien Temple) – Story of the [[Sex Pistols]] from the band's perspective
* ''[[Pistol (miniseries)|Pistol]]'' (2022, dir. [[Danny Boyle]]) – scripted miniseries based on the memoir Lonely Boy by [[Steve Jones (musician)|Steve Jones]].
* ''Punk Rock Britannia Part 1 Pre-Punk: 1972–1976'' (2012, dir. Andy Dunn) -Documentary from a three-part TV series produced by the BBC
* ''Punk Rock Britannia Part 2 Punk: 1976–1978'' (2012, dir. Sam Bridger) – Documentary from a three-part TV series produced by the BBC
* ''Punk Rock Britannia Part 3 Post-Punk: 1978–1981'' (2012, dir. Benjamin Whalley) – Documentary from a three-part TV series produced by the BBC
* ''[[The Punk Rock Movie]]'' (1978, dir. Don Letts) – The early punk scene in London
* ''The Punk Rock Singer'' (2013, dir. [[Sini Anderson]]) – [[Kathleen Hanna]] of [[Bikini Kill]] and [[riot grrrl]]
* ''Salad Days: A Decade of Punk in Washington, DC'' (2014, dir. Scott Crawford) – DC punk bands and [[Dischord Records]]
*''[[X: The Unheard Music]]'' (1986, dir. W. T. Morgan) – Los Angeles band [[X (American band)|X]]

==Notes==
{{reflist|group=nb}}

==References==
{{reflist}}

==Sources==
{{Refbegin|30em}}
* Andersen, Mark, and Mark Jenkins (2001). ''Dance of Days: Two Decades of Punk in the Nation's Capital'' (New York: [[Soft Skull Press]]). {{ISBN|1-887128-49-2}}
* Anderson, Mark (2002). "Zunō keisatsu", in ''Encyclopedia of Contemporary Japanese Culture'', ed. Sandra Buckley (London and New York: Routledge), p.&nbsp;588. {{ISBN|0-415-14344-6}}
* [[Michael Azerrad|Azerrad, Michael]] (2001). ''[[Our Band Could Be Your Life]]'' (New York: Little, Brown). {{ISBN|0-316-78753-1}}
* {{cite book|last=Bangs|first=Lester|year=1980|chapter=Protopunk: The Garage Bands|title=The Rolling Stone Illustrated History of Rock & Roll|edition=second|location=New York City|publisher=Random House|isbn=9780394739380}}
* {{cite book|last=Bangs|first=Lester|title=Psychotic Reactions and Carburetor Dung|publisher=Anchor Books, a division of Random House|year=2003}}
* Bennett, Andy (2001). "'Plug in and Play!': UK Indie Guitar Culture", in ''Guitar Cultures'', eds. Andy Bennett and Kevin Dawe (Oxford and New York: Berg), pp.&nbsp;45–62. {{ISBN|1-85973-434-0}}
* Berthier, Héctor Castillo (2001). "My Generation: Rock and ''la Banda{{'}}''s Forced Survival Opposite the Mexican State", in ''Rockin' las Américas: The Global Politics of Rock in Latin/o America'', ed. Deborah Pacini Hernandez (Pittsburgh: [[University of Pittsburgh Press]]), pp.&nbsp;241–60. {{ISBN|0-8229-4226-7}}
* Bessman, Jim (1993). ''Ramones: An American Band'' (New York: [[St. Martin's Press]]). {{ISBN|0-312-09369-1}}
* Bockris, Victor, and Roberta Bayley (1999). ''Patti Smith: An Unauthorized Biography'' (New York: [[Simon & Schuster]]). {{ISBN|0-684-82363-2}}
* {{cite book |author1-link= |author2-link=Richard Hell |author3-link=John Lydon |author4-link=Jon Savage |last1=Bolton |first1=Andrew |last2=Hell |first2=Richard |last3=Lydon |first3=John |last4=Savage |first4=Jon |editor1-last=Bell |editor1-first=Eugenia |title=[[Punk: Chaos to Couture]] |date=May 15, 2013 |publisher=[[Metropolitan Museum of Art]] |isbn=978-0-300-19185-1 |language=en |oclc=813393428}}
* Boot, Adrian, and Chris Salewicz (1997). ''Punk: The Illustrated History of a Music Revolution'' (New York: Penguin). {{ISBN|0-14-026098-6}}
* Buckley, Peter, ed. (2003). ''The Rough Guide to Rock'' (London: [[Rough Guides]]). {{ISBN|1-84353-105-4}}
* {{cite book |last1=Burchill |first1=Julie |last2=Parsons |first2=Tony |author1-link=Julie Burchill |author2-link=Tony Parsons (British journalist) |title=The Boy Looked at Johnny: The Obituary of Rock and Roll |date=1978 |publisher=[[Pluto Press]] |location=London |isbn=0-86104-030-9}}
* Burns, Rob, and Wilfried Van Der Will (1995). "The Federal Republic 1968 to 1990: From the Industrial Society to the Culture Society", in ''German Cultural Studies: An Introduction'', ed. Burns (Oxford and New York: [[Oxford University Press]]), pp.&nbsp;257–324. {{ISBN|0-19-871503-X}}
* Campbell, Michael, with James Brody (2008). ''Rock and Roll: An Introduction'', 2nd ed. (Belmont, Calif.: Thomson Schirmer). {{ISBN|0-534-64295-0}}
* Carson, Tom (1979). "''Rocket to Russia''", in ''Stranded: Rock and Roll for a Desert Island'', ed. Greil Marcus (New York: [[Knopf]]). {{ISBN|0-394-73827-6}}
* Catucci, Nick (2004a). "Blink-182", in ''The New Rolling Stone Album Guide'', 4th ed., ed. Nathan Brackett (New York: [[Fireside Books]]), p.&nbsp;85. {{ISBN|0-7432-0169-8}}
* Catucci, Nick (2004b). "Green Day", in ''The New Rolling Stone Album Guide'', 4th ed., ed. Nathan Brackett (New York: [[Fireside Books]]), pp.&nbsp;347–48. {{ISBN|0-7432-0169-8}}
* Colegrave, Stephen, and Chris Sullivan (2005). ''Punk: The Definitive Record of a Revolution'' (New York: Thunder's Mouth). {{ISBN|1-56025-769-5}}
* Coon, Caroline (1977). ''"1988": the New Wave [and] Punk Rock Explosion''. (London: [[Orbach and Chambers]]). {{ISBN|0-8015-6129-9}}.
* Creswell, Toby (2006). ''1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them'' (New York: Thunder's Mouth). {{ISBN|1-56025-915-9}}
* Dickson, Paul (1982). ''Words: A Connoisseur's Collection of Old and New, Weird and Wonderful, Useful and Outlandish Words'' (New York: Delacorte). {{ISBN|0-440-09606-5}}
* Diehl, Matt (2007). ''My So-Called Punk: Green Day, Fall Out Boy, the Distillers, Bad Religion—How Neo-Punk Stage-Dived into the Mainstream'' (New York: [[St. Martin's Press]]). {{ISBN|0-312-33781-7}}
* Dougan, John (2002). "X-Ray Spex", in ''All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul'', 3rd ed., eds. Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: [[Backbeat Books]]). {{ISBN|0-87930-653-X}}
* Ellis, Iain (2008). ''Rebels Wit Attitude: Subversive Rock Humorists'' (Berkeley, Calif: [[Soft Skull Press]]). {{ISBN|1-59376-206-2}}.
* Erlewine, Stephen Thomas (2002). "The Birthday Party", in ''All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul'', 3rd ed., eds. Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: [[Backbeat Books]]). {{ISBN|0-87930-653-X}}
* Fletcher, Tony (2000). ''Moon: The Life and Death of a Rock Legend'' (New York: HarperCollins). {{ISBN|0-380-78827-6}}
* [[Sasha Frere-Jones|Frere-Jones, Sasha]] (2004). "Bad Brains", in ''The New Rolling Stone Album Guide'', 4th ed., ed. Nathan Brackett (New York: [[Fireside Books]]), pp.&nbsp;34–35. {{ISBN|0-7432-0169-8}}
* Friedlander, Paul, with Peter Miller (2006). ''Rock and Roll: A Social History'', 2nd ed. (Boulder, Co.: Westview). {{ISBN|0-8133-4306-2}}
* Friskics-Warren, Bill (2005). ''I'll Take You There: Pop Music And the Urge for Transcendence'' (New York and London: [[Continuum International]]). {{ISBN|0-8264-1700-0}}
* Gaar, Gillian G. (2002). ''She's a Rebel: The History of Women in Rock & Roll'', 2nd ed. (New York: Seal). {{ISBN|1-58005-078-6}}
* Gendron, Bernard (2002). ''Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde'' (Chicago and London: [[University of Chicago Press]]). {{ISBN|0-226-28735-1}}
* Gimarc, George (1997). ''Post Punk Diary, 1980–1982''. New York: [[St. Martin's Press]]. {{isbn|978-0-312-16968-8}}
* Gimarc, George (2005). ''Punk Diary: The Ultimate Trainspotter's Guide to Underground Rock, 1970–1982''. San Francisco: [[Backbeat Books]]. {{ISBN|978-0-8793-0848-3}}
* Glasper, Ian (2004). ''Burning Britain—The History of UK Punk 1980–1984'' (London: [[Cherry Red Books]]). {{ISBN|1-901447-24-3}}
* Goodlad, Lauren M. E., and Michael Bibby (2007). "Introduction", in ''Goth: Undead Subculture'', ed. Goodlad and Bibby (Durham, N.C.: [[Duke University Press]]). {{ISBN|0-8223-3921-8}}
* Gosling, Tim (2004). "'Not for Sale': The Underground Network of Anarcho-Punk", in ''Music Scenes: Local, Translocal and Virtual'', eds. Andy Bennett and Richard A. Peterson (Nashville, Tenn.: [[Vanderbilt University Press]]), pp.&nbsp;168–83. {{ISBN|0-8265-1450-2}}
* Gray, Marcus (2005 [1995]). ''The Clash: Return of the Last Gang in Town'', 5th rev. ed. (London: Helter Skelter). {{ISBN|1-905139-10-1}}
* [[Andy Greenwald|Greenwald, Andy]] (2003). ''[[Nothing Feels Good: Punk Rock, Teenagers, and Emo]]'' (New York: [[St. Martin's Press]]). {{ISBN|0-312-30863-9}}
* Gross, Joe (2004). "Rancid", in ''The New Rolling Stone Album Guide'', 4th ed., ed. Nathan Brackett (New York: [[Fireside Books]]), p.&nbsp;677. {{ISBN|0-7432-0169-8}}
* Haenfler, Ross (2006). ''Straight Edge: Hardcore Punk, Clean-Living Youth, and Social Change'' (New Brunswick, N.J.: Rutgers University Press). {{ISBN|0-8135-3852-1}}
* Hannon, Sharon M. (2009). ''Punks: A Guide to an American Subculture'' ([[Santa Barbara, California]]: [[Greenwood Press]]). {{ISBN|978-0-313-36456-3}}
* Hardman, Emilie (2007). "Before You Can Get Off Your Knees: Profane Existence and Anarcho-Punk as a Social Movement". Paper presented at the annual meeting of the American Sociological Association, New York City, August 11, 2007 (available [https://web.archive.org/web/20121120204203/http://citation.allacademic.com/meta/p_mla_apa_research_citation/1/8/4/5/3/p184536_index.html online]).
* Harrington, Joe S. (2002). ''Sonic Cool: The Life & Death of Rock 'n' Roll'' (Milwaukee: Hal Leonard). {{ISBN|0-634-02861-8}}
* Harris, John (2004). ''Britpop!: Cool Britannia and the Spectacular Demise of English Rock'' (Cambridge, Massachusetts: Da Capo) {{ISBN|0-306-81367-X}}
* [[Dick Hebdige|Hebdige, Dick]] (1987). ''Cut 'n' Mix: Culture, Identity and Caribbean Music'' (London: Routledge). {{ISBN|0-415-05875-9}}
* Hess, Mickey (2007). ''Is Hip Hop Dead?: The Past, Present, and Future of America's Most Wanted Music'' (Westport, Conn.: Praeger). {{ISBN|0-275-99461-9}}
* Heylin, Clinton (1993). ''From the Velvets to the Voidoids: The Birth of American Punk Rock'' (Chicago: A Cappella Books). {{ISBN|1-55652-575-3}}
* Heylin, Clinton (2007). ''Babylon's Burning: From Punk to Grunge'' (New York: Canongate). {{ISBN|1-84195-879-4}}
* Home, Stewart (1996). ''Cranked Up Really High: Genre Theory and Punk Rock'' (Hove, UK: Codex). {{ISBN|1-899598-01-4}}
* Jackson, Buzzy (2005). ''A Bad Woman Feeling Good: Blues and the Women Who Sing Them'' (New York: W. W. Norton). {{ISBN|0-393-05936-7}}
* James, Martin (2003). ''French Connections: From Discothèque to Discovery'' (London: Sanctuary). {{ISBN|1-86074-449-4}}
* [[Joey Keithley|Keithley, Joe]] (2004). ''I, Shithead: A Life in Punk'' (Vancouver: Arsenal Pulp Press). {{ISBN|1-55152-148-2}}
* [[Naomi Klein|Klein, Naomi]] (2000). ''[[No Logo|No LOGO: Taking Aim at the Brand Bullies]]'' (New York: Picador). {{ISBN|0-312-20343-8}}
* Knowles, Chris (2003). ''Clash City Showdown'' (Otsego, Mich.: PageFree). {{ISBN|1-58961-138-1}}
* {{cite book|last=Laing|first=Dave|year=1985|title=One Chord Wonders: Power and Meaning in Punk Rock|location=Milton Keynes and Philadelphia|publisher=Open University Press|isbn=978-0-335-15065-6}}
* Lamey, Charles P., and Ira Robbins (1991). "Exploited", in ''The Trouser Press Record Guide'', 4th ed., ed. Ira Robbins (New York: Collier), pp.&nbsp;230–31. {{ISBN|0-02-036361-3}}
* Leblanc, Lauraine (1999). ''Pretty in Punk: Girls' Gender Resistance in a Boys' Subculture'' (New Brunswick, N.J.: Rutgers University Press). {{ISBN|0-8135-2651-5}}
* [[John Lydon|Lydon, John]] (1995). ''[[Rotten: No Irish, No Blacks, No Dogs]]'' (New York: Picador). {{ISBN|0-312-11883-X}}
* Mahon, Maureen (2008). "African Americans and Rock 'n' Roll", in ''African Americans and Popular Culture, Volume 3: Music and Popular Art'', ed. Todd Boyd (Westport, Conn.: Praeger), pp.&nbsp;31–60. {{ISBN|978-0-275-98925-5}}
* [[Greil Marcus|Marcus, Greil]], ed. (1979). ''Stranded: Rock and Roll for a Desert Island'' (New York: Knopf). {{ISBN|0-394-73827-6}}
* Marcus, Greil (1989). ''Lipstick Traces: A Secret History of the Twentieth Century'' (Cambridge, Massachusetts: Harvard University Press). {{ISBN|0-674-53581-2}}
* {{cite book|last1=Marks|first1=Ian D.|last2=McIntyre|first2=Iain|title=Wild About You: The Sixties Beat Explosion in Australia and New Zealand|year=2010|edition=1st|publisher=Verse Chorus Press|isbn=978-1-891241-28-4|url=https://books.google.com/books?id=IH0R2srt8osC&pg=PA7|access-date=March 16, 2021|archive-date=May 7, 2021|archive-url=https://web.archive.org/web/20210507084345/https://books.google.com/books?id=IH0R2srt8osC&pg=PA7|url-status=live}}
* McCaleb, Ian (1991). "Radio Birdman", in ''The Trouser Press Record Guide'', 4th ed., ed. Ira Robbins (New York: Collier), pp.&nbsp;529–30. {{ISBN|0-02-036361-3}}
* McFarlane, Ian (1999). ''The Encyclopedia of Australian Rock and Pop'' (St Leonards, Aus.: Allen & Unwin). {{ISBN|1-86508-072-1}}
* McGowan, Chris, and Ricardo Pessanha (1998). ''The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil'' (Philadelphia: Temple University Press). {{ISBN|1-56639-545-3}}
* McKay, George (1996). ''Senseless Acts of Beauty: Cultures of Resistance since the Sixties''. London: Verso, chapter 3: 'CRASS 621984 ANOK4U2', 73–101. ISBN 1-85984-028-0
* McKay, George (2023). [https://journals.sagepub.com/doi/10.1177/27538702231216190 'Was punk DIY? Is DIY punk? Interrogating the DIY/punk nexus, with particular reference to the early UK punk scene, c. 1976–1984.'] {{Webarchive|url=https://web.archive.org/web/20231207180416/https://journals.sagepub.com/doi/10.1177/27538702231216190 |date=December 7, 2023 }} ''DIY, Alternative Cultures and Society'' journal. 
*{{cite book |last1=McNeil |first1=Legs |last2=McCain |first2=Gillian |author-link1=Legs McNeil |author-link2=Gillian McCain |title=Please Kill Me: The Uncensored Oral History of Punk |date=1996 |publisher=Little, Brown and Company |location=New York |isbn=978-0316881470}}
*{{cite book|last=Lemlich|first=Jeffrey M.|title=Savage Lost: Florida Garage Bands: The '60s and Beyond|year=1992|edition=1st|publisher=Distinctive Punishing Corp.|location=Miami, Florida|isbn=978-978-0-942960}}
* Miles, Barry, Grant Scott, and Johnny Morgan (2005). ''The Greatest Album Covers of All Time'' (London: Collins & Brown). {{ISBN|1-84340-301-3}}
* [[Ben Myers|Myers, Ben]] (2006). ''Green Day: American Idiots & the New Punk Explosion'' (New York: Disinformation). {{ISBN|1-932857-32-X}}
* [[Brendan Mullen|Mullen, Brendan]], with Don Bolles and [[Adam Parfrey]] (2002). ''Lexicon Devil: The Fast Times and Short Life of Darby Crash and the Germs'' (Los Angeles: Feral House). {{ISBN|0-922915-70-9}}
* Nichols, David (2003). ''The Go-Betweens'' (Portland, Ore.: Verse Chorus Press). {{ISBN|1-891241-16-8}}
* Nobahkt, David (2004). ''Suicide: No Compromise'' (London: SAF). {{ISBN|0-946719-71-3}}
* O'Hara, Craig (1999). ''The Philosophy of Punk: More Than Noise'' (San Francisco and Edinburgh: AK Press). {{ISBN|1-873176-16-3}}
* Palmer, Robert (1992). "The Church of the Sonic Guitar", in ''Present Tense: Rock & Roll and Culture'', ed. Anthony DeCurtis (Durham, N.C.: Duke University Press), pp.&nbsp;13–38. {{ISBN|0-8223-1265-4}}
* Pardo, Alona (2004). "Jamie Reid", in ''Communicate: Independent British Graphic Design Since the Sixties'', ed. Rick Poyner (New Haven, Conn.: Yale University Press), p.&nbsp;245. {{ISBN|0-300-10684-X}}
* Pareles, Jon, and Patricia Romanowski (eds.) (1983). ''The Rolling Stone Encyclopedia of Rock & Roll'' (New York: Rolling Stone Press/Summit Books). {{ISBN|0-671-44071-3}}
* Porter, Dick (2007). ''The Cramps: A Short History of Rock 'n' Roll Psychosis'' (London: Plexus). {{ISBN|0-85965-398-6}}
* Purcell, Natalie J. (2003). ''Death Metal Music: The Passion and Politics of a Subculture'' (Jefferson, N.C., and London: McFarland). {{ISBN|0-7864-1585-1}}
* Raha, Maria (2005). ''Cinderella's Big Score: Women of the Punk and Indie Underground'' (Emeryville, Calif.: Seal). {{ISBN|1-58005-116-2}}
* {{cite book|last=Reed|first=John|year=2005|title=Paul Weller: My Ever Changing Moods|location=London|publisher=Omnibus Press|isbn=978-1-84449-491-0}}
* {{cite book|last=Reynolds|first=Simon|year=2005|title=Rip It Up and Start Again: Post Punk 1978–1984|location=London and New York|publisher=Faber and Faber|isbn=978-0-571-21569-0|url=https://archive.org/details/ripitupstartagai00reyn}}
* [[John Robb (musician)|Robb, John]] (2006). ''Punk Rock: An Oral History'' (London: Elbury Press). {{ISBN|0-09-190511-7}}
* {{cite book |last1=Robinson |first1=Lisa |author-link=Lisa Robinson |title=There Goes Gravity: A Life in Rock and Roll |date=2014 |publisher=Riverhead Books |location=New York |isbn=978-1594487149}}
* Rodel, Angela (2004). "Extreme Noise Terror: Punk Rock and the Aesthetics of Badness", in ''Bad Music: The Music We Love to Hate'', eds. Christopher Washburne and Maiken Derno (New York: Routledge), pp.&nbsp;235–56. {{ISBN|0-415-94365-5}}
* Rooksby, Rikky (2001). ''Inside Classic Rock Tracks'' (San Francisco: Backbeat). {{ISBN|0-87930-654-8}}
*{{cite book |first=Roger |last=Sabin |title=Punk Rock: So What?: the Cultural Legacy of Punk |url=https://archive.org/details/punkrocksowhatcu00roge |url-access=registration |location=London |publisher=Routledge |year=1999 |isbn=978-0-415-17030-7 }}
* {{cite book|author-link1=Jon Savage|last1=Savage|first1=Jon|year=1991|title=England's Dreaming: The Sex Pistols and Punk Rock|location=London|publisher=Faber and Faber|isbn=978-0-312-28822-8}}
* {{cite book|last=Savage|first=Jon|year=1992|title=England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond|url=https://archive.org/details/englandsdreaming00sava|url-access=registration|location=New York|publisher=[[St. Martin's Press]]|isbn=978-0-312-08774-6}}
* Shapiro, Fred R. (2006). ''Yale Book of Quotations'' (New Haven, Conn.: Yale University Press). {{ISBN|0-300-10798-6}}
* Schmidt, Axel, and Klaus Neumann-Braun (2004). ''Die Welt der Gothics: Spielräume düster konnotierter Tranzendenz'' (Wiesbaden: VS Verlag). {{ISBN|3-531-14353-0}}
* Shuker, Roy (2002). ''Popular Music: The Key Concepts''. London: Routledge. {{ISBN|0-415-28425-2}}
* Simpson, Paul (2003). ''The Rough Guide to Cult Pop: The Songs, the Artists, the Genres, the Dubious Fashions''. London: Rough Guides. {{isbn|978-1-84353-229-3}}
* Sinagra, Laura (2004). "Sum 41", in ''The New Rolling Stone Album Guide'', 4th ed., ed. Nathan Brackett (New York: [[Fireside Books]]), pp.&nbsp;791–92. {{ISBN|0-7432-0169-8}}
* Smith, Kerry L. (2008). ''Encyclopedia of Indie Rock'' (Westport, Conn.: Greenwood). {{ISBN|978-0-313-34119-9}}
* Spencer, Amy (2005). ''DIY: The Rise of Lo-Fi Culture'' (London: Marion Boyars). {{ISBN|0-7145-3105-7}}
* Spitz, Marc (2006). ''Nobody Likes You: Inside the Turbulent Life, Times, and Music of Green Day'' (New York: Hyperion). {{ISBN|1-4013-0274-2}}
* Spitz, Marc, and Brendan Mullen (2001). ''We Got the Neutron Bomb: The Untold Story of L.A. Punk'' (New York: Three Rivers Press). {{ISBN|0-609-80774-9}}
* Stafford, Andrew (2006). ''Pig City: From the Saints to Savage Garden'', 2nd rev. ed. (Brisbane: University of Queensland Press). {{ISBN|0-7022-3561-X}}
* Stark, James (2006). ''Punk '77: An Inside Look at the San Francisco Rock N' Roll Scene'', 3rd ed. (San Francisco: RE/Search Publications). {{ISBN|1-889307-14-9}}
* Strohm, John (2004). "Women Guitarists: Gender Issues in Alternative Rock", in ''The Electric Guitar: A History of an American Icon'', ed. A. J. Millard (Baltimore: Johns Hopkins University Press), pp.&nbsp;181–200. {{ISBN|0-8018-7862-4}}
* Strongman, Phil (2008). ''Pretty Vacant: A History of UK Punk'' (Chicago: Chicago Review Press). {{ISBN|1-55652-752-7}}
* St. Thomas, Kurt, with Troy Smith (2002). ''Nirvana: The Chosen Rejects'' (New York: [[St. Martin's Press]]). {{ISBN|0-312-20663-1}}
* {{cite book|last=Taylor|first=Steven|year=2003|title=False Prophet: Field Notes from the Punk Underground|location=Middletown, Conn.|publisher=Wesleyan University Press|isbn=978-0-8195-6668-3|url=https://archive.org/details/falseprophetfiel00tayl}}
* {{cite book|last=Taylor|first=Steve|year=2004|title=The A to X of Alternative Music|url=https://archive.org/details/atoxofalternativ00tayl|url-access=registration|location=London and New York|publisher=Continuum|isbn=978-0-8264-8217-4}}
* {{cite book|first=Everett|last=True|author-link=Everett True|year=2002|title=Hey Ho Let's Go: The Story of the Ramones|publisher=[[Omnibus Press]]|isbn=978-1-8444-9413-2}}
* Unterberger, Richie (2002). "British Punk", in ''All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul'', 3rd ed., eds. Vladimir Bogdanov, Chris Woodstra, and Stephen Thomas Erlewine (San Francisco: Backbeat). {{ISBN|0-87930-653-X}}
* [[Clinton Walker|Walker, Clinton]] (1982/2004) ''Inner City Sound'' (Portland, Oregon: Verse Chorus Press) {{ISBN|1-891241-18-4}}
* Walker, Clinton (1996) ''Stranded'' (Sydney: Macmillan) {{ISBN|0 7329 0883 3}}
* Walker, John (1991). "Television", in ''The Trouser Press Record Guide'', 4th ed., ed. Ira Robbins (New York: Collier), p.&nbsp;662. {{ISBN|0-02-036361-3}}
* Walsh, Gavin (2006). ''Punk on 45; Revolutions on Vinyl, 1976–79'' (London: Plexus). {{ISBN|0-85965-370-6}}
* Weinstein, Deena (2000). ''Heavy Metal: The Music and Its Culture'' (New York: Da Capo). {{ISBN|0-306-80970-2}}
* [[Steven Wells|Wells, Steven]] (2004). ''Punk: Loud, Young & Snotty: The Story Behind the Songs'' (New York and London: Thunder's Mouth). {{ISBN|1-56025-573-0}}
* Wilkerson, Mark Ian (2006). ''Amazing Journey: The Life of Pete Townshend'' (Louisville: Bad News Press). {{ISBN|1-4116-7700-5}}
* Wojcik, Daniel (1995). ''Punk and Neo-Tribal Body Art'' (Jackson: University Press of Mississippi). {{ISBN|0-87805-735-8}}
* Wojcik, Daniel (1997). ''The End of the World as We Know It: Faith, Fatalism, and Apocalypse in America'' (New York: [[New York University Press]]). {{ISBN|0-8147-9283-9}}
* {{cite thesis |last1=Wolf |first1=Mary Montgomery |title="We Accept You, One of Us?": Punk Rock, Community, and Individualism in an Uncertain Era, 1974–1985 |date=May 2008 <!-- Preview, 2007 --> |publisher=Department of History, College of Arts and Sciences, [[University of North Carolina at Chapel Hill]] |url=https://cdr.lib.unc.edu/concern/dissertations/k35695185 |language=en |doi=10.17615/e26e-6m88 |quote=A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. |archive-date=April 24, 2022 |access-date=April 8, 2022 |archive-url=https://web.archive.org/web/20220424203237/https://cdr.lib.unc.edu/concern/dissertations/k35695185 |url-status=live }}
* Worley, Matthew (2017). [https://www.cambridge.org/gb/universitypress/subjects/history/twentieth-century-british-history/no-future-punk-politics-and-british-youth-culture-19761984?format=PB ''No Future: Punk, Politics and British Youth Culture, 1976–1984'']. Cambridge: Cambridge University Press.
{{Refend}}

==External links==
{{sister project links|d=Q3071|c=Category:Punk rock|voy=no|m=no|mw=no|f=no|species=no|n=no|s=no|b=no|v=no}}
* [http://www.nyu.edu/library/bobst/research/fales/downtown.html Fales Library of NYU Downtown Collection] archival collection with the personal papers of NYC punk figures.
* [https://web.archive.org/web/20000510062822/http://www.fastnbulbous.com/punk.htm A History of Punk] 1990 essay by rock critic A.S. Van Dorston
* [https://web.archive.org/web/20100420025514/http://www.villagevoice.com/2005-10-18/specials/we-have-to-deal-with-it-punk-england-report/ "We Have to Deal With It: Punk England Report"], by [[Robert Christgau]], ''[[The Village Voice]]'', January 9, 1978
* [https://web.archive.org/web/20020613141145/http://www.roctober.com/roctober/blackpunk1.html Black Punk Time: Blacks in Punk, New Wave and Hardcore 1976–1984 by James Porter and Jake Austen and many other contributors Roctober Magazine 2002]
* [http://www.southendpunk.com Southend Punk Rock History 1976 – 1986, a detailed site containing information on the Punk Rock explosion as experienced by Southend-on-Sea, Essex, UK]
* [https://archive.org/details/SchmockNumber2WildbergGermany/mode/2up/ ''Schmock'' Fanzine, 1984] Germany's first English-language punk rock fanzine from Wildberg, West Germany

{{punk|state=expanded}}
{{hardcorepunk}}
{{rock}}
{{Alternative rock}}
{{Authority control}}

{{DEFAULTSORT:Punk Rock}}
[[Category:Punk rock| ]]
[[Category:Culture of New York City]]
[[Category:Musical subcultures]]
[[Category:Anarchist culture]]
[[Category:Youth culture in the United Kingdom]]
[[Category:Youth culture in the United States]]
[[Category:1960s neologisms]]
[[Category:Counterculture of the 1970s]]
[[Category:Counterculture of the 1980s]]
[[Category:Counterculture of the 1990s]]
[[Category:1970s in music]]
[[Category:1980s in music]]
[[Category:1990s in music]]
[[Category:20th-century music genres]]
[[Category:21st-century music genres]]
[[Category:Music of California]]
[[Category:Music of New York City]]
[[Category:Punk]]
[[Category:Rock music genres]]