What does punk 1
The term ‘Punk’ originally comes from Anglo-American and has always had a derogatory meaning. Anyone who was dubbed punk was considered ‘the very last’. This attribute was used, inter alia, to Prostitutes, sedentary people and petty criminals. In 1975 the two animation students Legs MC Neil and John Holmstrom (from Chesire / Connecticut) called their fanzine 'Punk', giving the movement a name that only received greater attention in the music press a year later with the 'Sex Pistols' .
Since then, punk has been the epitome of a rebellious and provocative youth culture. Nevertheless, it should be taken into account that punk is not a uniform movement: there is a wide range of different groupings, styles and varieties that have developed over the past three decades. Last but not least, the roots of other scenes lie in punk - just like the Gothic scene, the hardcore scene also emerged from the punk scene.
The forerunners of punk can be found in the USA and there especially in the New York scene: This is where the ‘Ramones’ came from, whose quick and simple sound made the music world sit up and take notice. However, punk first gained mass media attention with the London band ‘Sex Pistols’, whose scandalous concerts - at which they insulted the audience - made punk known worldwide. Inspired by the ‘Sex Pistols’, other punk bands such as B. "The Clash" and "The Damned".
The first German bands already existed in 1977 (e.g. ‘Male’, Lunch break ’). However, these bands were still very much based on the English "role models" and mostly sang in English. In the 1980s, various musical and related differentiations followed - e.g. B. Streetpunk and Hardcore.
In Germany, the fall of the Berlin Wall triggered increased demand for publications by German-speaking punk bands - especially on the part of the East German punks, who were no longer prevented from buying ‘West products’ by state security restrictions. But overall, the ‘German punk’ genre also experienced an upturn due to the formation of numerous new bands, after the scene had been very much influenced by US hardcore in previous years.
The musical advancements (such as Hardcore) and differentiations (such as 'Fun-Punk', 'Streetpunk', 'Melody-Core' and 'Crust-Punk') that have taken place in the course of punk history also resulted in differences in content and, as a result, scene splits and new ones Subscenes with yourself.
Differences can be seen above all in political engagement and drug consumption. From the mid-1980s, hardcore became an independent scene from punk. Like Hardcoreler ’,‘ Crust-Punks ’and‘ Riot Grrrls ’can be seen as politically / socially active scene groups, while Fun-Punk’, ‘Streetpunk’ and ‘Melody-Core’ often appeal to less politically interested people in the scene.
The differentiations mentioned are, however, to be viewed as subscenes, i. H. their followers continue to see themselves as punks ’and are perceived as such by the rest of the’ scene. Nevertheless, tensions within the scene are repeatedly expressed in discussions about whether ‘punk’ should be understood as concrete political or non-political. Such a discussion sparked among other things at the party Partei APPD ’((Anarchist Pogo Party of Germany’), which emerged from the punk movement.
The size of the punk scene is estimated to be in the lower five-digit range. Although new records, CDs and fanzines are constantly being released, punk bands have become a permanent fixture on music television and the bands played there are the entry point into the punk scene for many young people, the size of the scene has stagnated at a high level in recent years observe.
The age of the punks is between 14 and 50 years, with older punks often operating for the scene as operators of record labels and stores, mail orders and pubs. In the punk concert audience, the male portion clearly dominates. This tendency is also particularly visible in the area of the active scene-goers: Men are predominantly responsible for bands and fanzines - and this although a high value is attached to the claim of gender equality within the scene.
Punks have relatively constant contact with the hardcore scene through joint concerts, but there is a certain reserve between these scenes. There is contact to the left political spectrum through joint demonstrations and squatting. Some punks are active in left-wing autonomous political groups and sympathize with the anti-fascist scene. Punks attest to the alternative ’young people (hippies) with their ideals of love’ and enden peace ’, some of whom can also be found at such demonstrations, as unrealistic’, which may be related to the pessimistic worldview that is typical of the point.
There is an ambivalent relationship with skinheads: At ‘Oi! Punk’, Ska ’and Mod’ concerts, there are usually little frictionless contacts. In the early punk years, punks were often violently attacked by Teds, rockers and right-wing skins. Currently there is only hostility to right-wing extremist skins.
On the one hand, punk is a genre of music that is characterized by its simple, rough, unpolished, fast and straightforward sound. On the other hand, punk is an attitude towards life. Punk as a way of life can be described as an alternative to the mainstream and, in the life plans typical of the scene, contains a conscious (and sometimes extremely provocative) demarcation from society.
Punk is seen as an expression of protest and frustration that is destructively directed against society. Above all, commerce, capitalist exploitation, privileges as well as racism and environmental destruction are rejected. Another "driving force" is a striving for freedom against the bourgeois norms perceived as restrictive, which in turn finds its expression in a striving for life for the moment and in the neglect of future plans.
The factual effect of this destructive attitude is, however, through ‘do-it-yourself’ (‘D.I.Y.’) - i.e. H. the claim that everyone can do something themselves (even with the most modest means) - quite productively and creatively. In ‘do-it-yourself’, what counts is enthusiasm for the thing and not perfection. Creativity goes hand in hand with a pessimistic worldview, but punks don't give in to the way the world goes. This attitude is reflected in the scene motto ‘trying not crying’, which is tantamount to calling for an end to the whining and trying to make the conditions ’nisse better’ according to one's own needs. In all this endeavor to make changes, however, fun should not be neglected. Punk actions usually also contain a certain self-irony towards one's own dilettantism - born from the insight into the limitations of one's own means as well as the secondary importance of the action in itself ’compared to fun.
It is typical for many punks to go to public spaces, especially pedestrian zones, to present themselves to society. Part of these meetings are mostly (punk) music from cassette recorders as well as alcohol consumption and (often also) the scuffling ’of passers-by. While punks see themselves as loners in relation to society and the mainstream youth culture, the community of like-minded people and cohesion within the scene (or their respective local scene) are very important to them.
Striking hairstyles (brightly colored hair, mohawk) and the often deliberately shabby clothing are perceived as particularly striking. However, this look has been picked up by the fashion industry in recent years, which is why such an appearance (at least in large cities) no longer achieves the desired "shock" effect.
Another characteristic of punks are brightly decorated leather and denim jackets or parkas. The anarchy symbol, slogans (e.g. Shoot the bull ’), lettering from bands or buttons are very often used. Otherwise, punks often use ‘mocking’ everyday objects as fashion accessories - such as dog collars, safety pins, padlocks and chains. Sometimes provocative elements such as cartridge belts and gallows ropes.
In the early days of punk, Nazi symbols were often displayed, but at least in Germany they have long been frowned upon and are therefore no longer seen. Some punks carry dogs with them, even at concerts. Animals popular with punks have also always been rats, in which punks see a ‘symbolic’ equivalent of themselves as intelligent creatures that society despises because of their appearance.
At punk concerts, pogo is danced, i. H. an uncontrolled jumping to the beat of the music. Pogo is on the one hand the celebration of enthusiasm, on the other hand it is also the act out of anger and aggression. Particularly reckless jostling can occur with concert goers z. T. lead to wounds. Stage diving, jumping from the stage into the crowd, can also be seen every now and then at punk concerts. Typical for independent punk concerts is the closeness of the band and the audience, i.e. the dissolution of the hierarchy that is usual in other music-centered scenes, because denn worshiping a star ’is rejected.
The main meeting points are punk rock concerts in independent youth houses, squats and small clubs and pubs. Large festivals, often lasting several days, have also become very important, some of which are 'open air' (e.g. at the 'Force Attack' festival near Rostock) and partly in larger halls (e.g. at 'Holidays in the sun 'in Blackpool / England as well as at the' Punk & Disorderly 'in Berlin) up to 40 bands appear on one weekend.
Punk meetings in pedestrian zones, which continue to take place on a smaller scale, are also characteristic, often under the name ‘Punx Picnic’. The infamous ‘Chaostage’ in Hanover took place in 1982-1984, 1994-1996 and in 2000. However, through the strong presence and custody of punks, the police managed to get this event under control, so that it is currently of no importance in the scene.
See ‘Events’. There are also pubs and local meeting points in pedestrian zones as possible lauf contact points ’.
With fanzines, flyers and supplements to sound carriers, punks have their own, independent communication channels. The blackmail letter look (collages of cut-out letters / words from newspapers), which was once typical for punk, has meanwhile found its way into other areas (e.g. in the advertising industry) as a stylistic device.
The importance of the Internet is steadily increasing in the punk scene - especially for the transmission of concert announcements and for the rapid dissemination of "news". Furthermore, information on bands (band stories, song texts) and MP3 archives for downloading songs can be found on websites.
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