"Развитие и становление британской панк-культуры"

 ORIGIN AND DEVELOPMENT OF THE BRITISH PUNK-CULTURE

Made by Gugumberidze Yuliya

shool №175

form 10A

Contents

Introduction

Chapter 1. The history of the punk in Britain

1.1. Origins of the world punk-culture. Protopunk

1.2. Appearance of the punk-culture in UK

1.3. Second rock-revolution

1.4. Present punks

Chapter 2. Ideology

2.1. Ideologies

2.2. Some tendencies in the punk ideology

2.3. Attributes

Chapter 3. Punk in British arts

3.1. Music

3.2. Literature

3.3. Films

3.4. Visual arts

Chapter 3. The cultural legacy of British punk

Conclusion

The list of the used literature

CHAPTER 1. History and evolution of punk in Britain

1.1. Origins of the world punk culture. Proto-punk.

The roots of punk culture are in America of the 1960s. The punk rock of 1960s is named “garage rock”.  It’s appeared in the USA in 1964 where a huge number of local ensembles influenced by Beatles and Rolling Stones appeared. Music that they played appreciably varied depending of regions, local musical traditions, but basically it was a mix of blues, white folk motives with elements of homebrew music skiffle. Value of this event can’t be overestimating – for the first time American youth has their own music. Respectable and completely harmless sweet boys have been immediately forgotten. They conceded the positions of idols to a valiant pressure of the fresh freedom of thoughts and actions. After couple of years this powerful American movement has came to the history of rock music under the name “garage rock”. This strange name appeared because of such groups played basically in garages – they had no any another place. They didn’t build mercantile plans and only to their relatives, friends and neighbors known them. Their creative searches answered inquiries not mass but a local audience (school, college).  Among hundreds nonprofessional groups of those years, maybe only about two ten recorded a studio album. But they have found self-expression in their music, have felt an opportunity to be liberated from complexes that imposed by society and parents, and that’s why they put in their songs all feelings and all soul.

        Today we can learn about garage rock only by a few escaped records of those years. Nevertheless the era of completely ignored by show-business punk-groups of 60s was short, because of fast growth of musical groups and expansion of borders of rock music, transition to progressive rock. Also because of the searches of new styles just during that period, which have been predetermined by prompt progress in the field of musical and sound-recording techniques.

        At the end of 1967 all american punk groups either have broken, or were involved in other musical genres. At the end of 60s such ensembles as MC5, Iggy and The Stooges, Velvet Underground appeared. Subsequently they became the conventional icons of punk-rock of the 70s. Then nobody has accepted either their music, or ideas.  After, such groups as Ramones, New York Dolls became their followers, and then they became the first musicians of the second, real wave of the punk-rock.

1.2. Appearance of punk culture in Britain.

While activity of american punks does not fall outside the club parties. They remain within the framework of decency, practicing basically in music and vanguard literature – symbolism, futurism. At that time where was nothing terrible.

It was so, before the thunder-storm of punk has not burst above the Great Britain two years later – in 1976. English precisely copied americans – and it stunned respectable England. In USA it was not so appreciably, but it lifted a thunder behind ocean. Instigator of this all was unknown holder of the London shop of super fashionable clothes and trinkets – Malcolm McLaren. Right in the end of career of The New York Dolls he was their manager; he caught the basic tendencies of New York proto-punk and decided to use this experience on the native land. The result was amazing. It calls Sex Pistols. In spite of the fact that British punk is really hardly perceived, seems wild, sometimes animal impulse, it is a natural phenomenon both in a life of a modern society and in rock-musical subculture. Punk became a reaction of “generation without future” to hard conditions of life and impossibility to realize fully sincere forces, but also on an intensification of political and information-technological processes. Very quickly it became a protest – the form suitable to any collisions on any field: ideological, social, musical. Frightened authority firstly declared punks hooligans. But then the amount of hooligans is hundred of thousands its name is revolt. And this revolt arose from the transformed conflict of fathers and children.  Now newly appeared rebels “Generation X” sang: I try to forget about your generation. But now it was more difficult. Old dreams have failed and nobody trusted to new ones. Time of nihilism, despair and aversion of world around has came. Neither the society nor youth that conflicted with it had enough strong moral possibilities to use them for value of them and of mankind. It was one more reason of occurrence of punk-revolt.

In the 1976 it seemed to respectable Englishmen, that the British youth gone crazy. Crowds of teenagers with a disgusting appearance flooded streets. In leather jackets and ripped jeans, with rings in a nose, bald, or with multi-colored hair, their faces were decorated with paint, they occupied gates, local pubs and cafes. They behaved definitely at cinemas, with policemen and passers-by. They hastened to make their protest to the world in which they were born and have grown in. The philosophy of punks was the philosophy of the lost generation, extremely simple: it’s better to be pigs in a pigsty. They finally decided that make the world better is impossible, and that’s why the cross on life and career (in old concept) has been put.

        The world lost sense. Life lost sense. There was not future. About it, for example, sang Sex Pistols: “God save the queen,

The fascist regime.

They made you a moron,

A potential H bomb.

God save the queen,

She’s not a human being.

And there’s no future

And England’s dreaming.  

And there’s no future for you.

We’re the flowers in the dustbin,

We’re the poison in your human machine,

We’re the future – your future”. 

        Installation to make that will be desirable in a moment and careless attitude to oneself and people around became determined. The morals revolved on 180 degrees: everything that was considering immoral by normal people, at streets became external display of morals. The Slits sang about it in song “Enemy number one”:  “If you like white color, I will be black. It you like black, I will be yellow. If you appreciate reasonable, I will be reckless. If you value mind I will be mad. If you like peace and flowers, I bring knifes and chains”.

        There is a spirit of a contradiction in these words, which purpose to deride all habitual and settled that was created by centuries if it is only advantage for rich people. So the ideology of punks appeared – the ideology to oppose to harm by violence. But it is important to say, what new youth revolt brought in comparison with the last years and even with the first rock-revolution. Impact was rendered not only on religion and bourgeois morals like it was earlier, but also on a basic public foundations in general – establishment, militarism, royal family and so on. Here how it sounds in song “White riot” by The Clash: “All the power in hands of people rich enough to buy it, while we walk the street too chicken to even try it. I wanna riot, white riot, a riot on my own”.

        Here prehistory of punk ends.

1.3. Second rock-revolution.

November 6, 1975 second rock-revolution began. This day, in Saint Martin college of arts, London, has taken place the first performance of ensemble Sex Pistols. The group played only five songs of their own composition, then frightened college employee disconnected electricity. Despite of failures, Sex Pistols became known. Basically due to scandals, that accompanied occurrence of musicians in any places. The leading english weekly journal “Melody Maker” written about them the devastating review. Phil Collins, the great rock musician said about them: “They don’t have any talent”. They even can’t play on musical instruments well. But it was the idea of punk, to play their songs not for money, not for music, but for the same people as they are. They wear the same clothes, think the same way, act the same way.  They were close and accessible, equality and brotherhood subdued youth that has only one slogan: to struggle against all. The nonconformism of rock-n-roll has been forgotten. Rock musicians of 70s (Yes, Genesis, Led Zeppelin, Pink Floyd, Deep Purple, etc.), became businessmen, live in huge private residences. They have no contacts with youth.

        That’s why punk suggested to create another, alternative world of rock- music: there is no need in thousands dollars to buy expensive musical equipment, no need in contracts with major-labels. Pair of cheap guitars and drums are all that is necessary.  

        Important moment of development of British punk is festival that has taken place in London club ”100”  September 20, 1976. There were all basic groups which appeared that year under influence of Sex Pistols: The Clash. Subway Sect, Siouxsie & The Banshees, Damned, Buzzcocks and others. These groups’ music and lyrics were similar. Songs usually was no more than two minutes, were played in a fast rate, with monotonous bass, which emphasized the rhythm, many tried to sound deliberately sharply, screamed

        Punks sang about themselves: about poverty and queues for unemployment benefit, about children’s criminality and a rise in price of life, about cruelty at street and about narkotism, about chaos and anarchy, existence instead of life, and about unwillingness to submit to another’s will and thirst to be free. Their songs were full of discontent and hopelessness. Everybody spoke about punks as about an attack to system. But there were no special illusions about this among the punks.

        In 1977 there was uncountable amount of punks in Great Britain. Quickly appeared independent rock-industry with small labels (“indies” – independent labels), fanzines (magazines about punk music). But all of this didn’t excite the big world. It was afraid only of the punk-revolution and its political outcome. It was important to lead reduce it to zero. The problem was how to extinguish social, more precisely, an antisocial charge of punk. The checked up thing that has been used was pop-industry. The punk has been made a profitable business.

        This youth was the same as the whole consumer society. When the opportunity to get the money on it appeared, the punk died. Those, who year ago hated rich rock-stars in limousines, now dream about richness. The attributes of the punk became fashionable and were made on conveyor. Processing of public opinion gone in direction, that any system is good only when it’s resisted by antisystem. This threat is necessary to prove the viability of system and its proper way of development. And the punk is such antisystem. And if the system was bad, punk could destroy it, and if he couldn’t do this, it means that system is perfect. Punk was destroyed by that it ceased to forbid. Punk was allowed on TV. Here began the “new wave”. Punk began deform, change, share on different musical, political, esthetical kinds. Tens of styles with their own concepts, new art thinking, vision of the world, with other proposes appeared. Punk was shattered, like progressive rock in its time.

1.4. Present punks

At the end of 90s guitar music began to revive, the spirit of the true punk rock came back. It came in the stead depressive grange and decadent brit-pop. Distemper and hopelessness have bothered to new generation, and instead of them vigorous punk has returned. Punk was revived by show-business that killed it at the end of 70s-early 80s.

        Music has remained almost the same – it was the same vigorous, fast and stupid rock’n’roll. As they say, three chords.

        The matter of ideology was more difficult. The most important element of punks’ attitude is aggression. Punks came in 70s with a slogan “I hate” in a counterbalance to hippies’ “I love”. They hated everything: consumer society, their parents, any values. They called them “flowers in a dustbin”, considered white is black, and bad is good. The main principles of true punks are “there’s no future” and “live fast, die young”.

        Punks have been legalized to not to be a threat for a society. They are been called antisystem that is necessary to strengthen the system. Punks have been gave the lawful opportunity to brawl, and masters of show-business made money on this. However, punk-groups of 80s weren’t so popular. Demand for them gradually disappeared. The punk has revived and this time at once in such commercial way.

        Commercially successful groups perfectly approach for replacement of extremist punks and really aggressive musicians on the second plan. Though different punks, mad and dangerous, propagandizing including fascist ideas, inconceivable for classical punks of the 70s, certainly exist. Any ideologies approach to present punks, not only “left”, as it was thirty years ago. Any youth extremist grouping can seem punks. Or just hooligans, who like picturesque appearance, not more that. Such musicians, as a rule, are unpopular. Who do need them, if teenagers have legal opportunity to splash out aggression and thirst of independence by means of commercial groups. Antisocial attacks of such groups certainly are only surroundings. It is suppose that nobody will go to revolt and beat show-windows. And new idols of generation would be frightened of such aggression, but nevertheless, they have to show any ideology, because you will not become popular only by means of only three chords. As a rule, such musicians choose ideas of more moderate groups (such as The Clash).

        So, revived punk of the early 90s is called pop-punk. Later skate-punk appeared, but it was widespread only in America, not in England. The late 1990s also saw another ska-punk revival, and this revival continues into the 2000s.

        In the 2000s there is still a thriving punk scene in the North America, Asia and Europe (including UK). The widespread availability of the Internet and file sharing programs enables bands who would otherwise not be heard outside of their local scene to garner larger followings and is in keeping with the DIY ethic championed by some earlier punk bands.

CHAPTER 2. Ideology

1.1. Ideologies

In its original nature, the punk culture has been primarily concerned with individual freedom, which tends to create beliefs in concepts such as individualism, anti-authoritarianism, anarchism and free thought. Punk ideologies have often included a critical view of the world; seeing modern day societies as placing extensive limits on humanity.

Punk culture originated as a movement of shock, rebellion, and discontent; and from certain points-of-view, it has evolved into an overt socio-political movement. Lyrically, punk bands often express discontent with the individuals and institutions that influence society. The political ideology most often associated with punk is anarchism, however punk has also been associated with other leftist ideologies such as social liberalism, socialism and communism. Despite the association that punk ideologies have with the left wing, some punks perceive the efforts of leftists as ineffectual, and sometimes just as objectionable as the right wing. Right-wing ideologies have appeared within punk culture, including conservatism and neo-Nazism.

Philosophical ideologies within the punk subculture include atheism, agnosticism and humanism, as well as religious ones such as Christianity, Islam, the Rastafari movement and the Hare Krishna movement (especially amongst 1980s straight edge scene), which often overlap onto a punk's political beliefs.

Punk ideology has been criticized from outside and within. The conservatives in punk rock often refer to the fact that punk rock rejected the perceived unrealistic liberal view held by hippies, a view that was often out of touch with the "common man". The reference to hippies could also be a reference to the fact that while hippies were generally pacifists, violence and brawling have always been a part of punk rock.

Another external criticism of punk culture comes from Aristasians, an all-female subculture that is heavily influenced by the traditionalist school of philosophy. Aristasians argue that punk accomplishes nothing but to kick the corpse of the establishment, which no longer existed after 1965; calling this idea "The Doctrine of The Cardboard Enemy". They argue that the more that punks rebel against the status quo, the more they become part of it. Aristasians claim that this theory applies equally to other youth subcultures, such as hip hop, goth, skinhead, black metal, hippie, junglist and new age travelers.

Punk ethics

In the late 1970s, the punk movement was operating in an environment controlled by outside influences. Because this impinged on the freedom of the movement, people in the punk scene began creating their own record labels, organizing their own concerts, and creating their own print media. This became known as the do it yourself (DIY) ethic. "Don't hate the media, become the media" is a motto of this movement.

Punks sometimes participate in direct action such as protests, boycotts, and in some cases, violence. Some of the most militant punks have bombed gas stations, destroyed animal research laboratories, altered billboards to include political messages, and occupied abandoned buildings. Hacktivism has become an additional method of sabotage. These acts are committed in an effort to create social change when it is felt that the normal channels for change have been proven ineffective.

DIY ethics

The DIY ethic (Do-It-Yourself ethic) refers to the ethic of being self-reliant and doing things yourself as opposed to paying others to do it. The term can indicate "doing" anything from home improvements and repairs to healthcare, from publication to electronics.

DIY questions the supposed uniqueness of the expert's skills, and promotes the ability of the ordinary person to learn to do more than he or she thought was possible.

The DIY ethic is loosely tied to punk ideology and ant consumerism, in as much as it amounts to a rejection of the idea that one must always purchase the things that one wants or needs from others.

The DIY punk ethic can also extend to how any group or individual applies DIY political stances to daily life – especially how they avoid contributing to institutions they see as exploitative. These efforts include converting cars to run on vegetable oil, learning bicycle repair, sewing/repairing/modifying clothing, starting gardens, dumpster diving, etc. DIY is sometimes simply a way of finding ad hoc solutions to problems that are otherwise usually solved with wealth or corporate support. Often though DIY involves a more sustained learning experience which seeks to replace the means for producing goods and services traditionally sought in a money economy to a more permanent extent. Thus DIY is in a broad sense an economic model. Skill sharing is a central aspect of DIY culture and practice.

Selling out

Selling out refers to any abandonment of personal values in exchange for reciprocal gain, in the form of wealth, status, or power. Because anti-establishment attitudes are such an important part of punk ideologies, a network of independent music labels, venues, and distributors has developed. Some punk bands have chosen to break from this independent system and work within the established system of major labels. Some punks argue that these artists have betrayed their communities, and that their creative integrity is necessarily compromised. However, some artists argue that working in the major label system is a necessary evil, allowing the widest distribution of their messages.

Another meaning of selling out is for a punk band to change its musical style, such as to progressive rock, pop or heavy metal. For example, many of Black Flag's later songs show obvious metal influence, while their older work was mainly punk rock. Selling out also has the meaning of adopting a more conservative, mainstream lifestyle and ideology.

Apolitical

Another punk minority are those who claim not to be political. However, in practice, socio-political ideas do find their way into these musicians' lyrics. Charged GBH have sung about social issues and anti-war themes.

Nihilism

Centering around a belief in the abject lack of meaning and value to life, nihilism was a fixture in some early punk rock. Nihilist attitudes and aesthetics were apparent in protopunk and punk rock musicians such as Iggy Pop, MC5, Richard Hell, Sex Pistols and G.G. Allin. High unemployment and other socio-political conditions in the United Kingdom led to the punk slogan "No future." Notable nihilist punks include: G.G. Allin, Sid Vicious, Dee Dee Ramone, Richard Hell, and Seth Putnam.

Straight Edge

Straight edge involves abstaining from alcohol, tobacco, and recreational drug use. This movement appeared in early 80s. This period cannot be named the crisis of punk-culture, but many began to realize the senselessness of self-destruction peculiar to representatives of this subculture. In this context, self-destruction is alcohol, smoking, drugs and chaotic sexual life. That’s why the movement received the reputation of alcoholics and drug-addicts, that don’t care about the moral. This stereotype still exists. Many people attended concerts, agreed with ideas, but understood, that such movement has no future and also has no present. Then musicians began to think so too. People, that agreed Straight Edge drew on their hands crosses as a sign of voluntary refuse of alcohol.

Some who claim the title straight edge also abstain from caffeine, casual sex and meat. Those more strict individuals may be considered part of the hardline subculture. For some, straight edge is a simple lifestyle preference, but for others it's a political stance. In many cases, it is a rejection of the perceived self-destruction of punk and hardcore culture. Notable straight edgers include: Ian MacKaye,Jose Ballada III Sean Muttaqi, Tim McIlrath, Dennis Lyxzén and CM Punk. Unlike the shunning of meat and caffeine, refraining from casual sex was without question a practice in the original straight edge lifestyle, but it has been overlooked by many of the reincarnations of straight edge. Many non straight edge people, as well as straight edge people who do uphold this value, criticize those who claim straight edge but engage in casual sex as weak and not really edge, claiming that they just don't have the discipline.

        Anti-establishment

An anti-establishment view or belief is one that goes against the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. The term can be distinguished from counterculture, particularly from puck-subculture, a word normally used to describe artistic rather than political movements that run against the prevailing taste and values of the time.

The term has retained its original meaning in British English and continues to be applied to various individuals and groups

        In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. They act against the British monarchy, an established church, an aristocracy and an unelected upper House in the Parliament made up in part by hereditary nobles. By operating through arts and media, the line between politics and culture blurred

        Anti-militarism

Antimilitarism is a doctrine commonly found in the anarchist and, more globally, in the socialist movement, which may be both characterized as internationalist movements. It relies heavily on a critical theory of nationalism and imperialism, Whereas pacifism is opposition to violence in general, antimilitarism is opposed to war between states in particular and, of course, militarism.

2.2. Some tendencies in the punk ideology.

Anarchism

Many punks align themselves with the social movement of anarchism. These punks form a social movement within punk that is similar to anarchism without adjectives, collectively known as anarcho-punk. Some well-known punk bands (e.g. The Exploited and the Sex Pistols) sing about anarchy, but do not use the word in the sense of anarchism as a political philosophy . As such, they are not considered part of the anarcho-punk genre. Notable anarchist punks include: Tom Gabel, Steve Ignorant, Penny Rimbaud, Eve Libertine, Gee Vaucher, Jack Grisham, Colin Jerwood, Dave Dictor, Jello Biafra and Kelvin "Cal" Morris of Discharge.

Conservatism

A small number of punks are conservative, embracing the punk lifestyle while rejecting the left-wing and anarchist views held by the majority of the subculture. Notable conservative punks include: Michale Graves, Johnny Ramone, Joe Escalante, Billy Zoom, Bobby Steele and Dave Smalley.

Neo-Nazism and nationalism

Nazi punks have a far right, nationalist, fascist, and racist ideology that is closely related to that of white power skinheads. Ian Stuart Donaldson and his band Skrewdriver are credited with popularizing white power rock music, also known as Rock Against Communism.

Socialism

The Clash were the first strongly political punk rock band, as they introduced socialism to the punk scene. Some of the original Oi! bands expressed a rough form of socialist working class populism — sometimes mixed with patriotism. Many Oi! bands sang about politically-charged topics such as unemployment, police harassment and working class power. Notable socialist and communist punks include: Bruce La Bruce, Joe Strummer, Garry Bushell (until the late 1980s), James Dean Bradfield, Nina Hagen, Picchio and Ian Svenonius.

2.3. Attributes

Collective image of punk is bright, disharmonious combination of colors (purple, red, green, black, etc.). Appearance is menacing and unhealthy.

Shoes and clothes

Torn jeans, bridges, checkered trousers with rivets and pins (female variant – a skirt and mesh stockings;

boots (Doc Martins) or sneakers, bright colored;

belt with rivets;

leather jackets with rivets and stripes;

shirts with symbolics of favorite groups                                                                Punks

Accessorizes                                                            

Chains, rivets, pins, stripes, collars, bracelets,

 piercing (for example a pencil in a ear), tattoos,

backpacks and many other things.

Hair                                                                                                           

Unnatural colored hairs, hairdresses such as needles and mohawks.

CHAPTER 3. Punk imprint in the British art

3.1. Music

Many new punk rock bands formed, often directly inspired by the Sex Pistols. In London, there were The Vibrators, The Slits, X-Ray Spex, Siouxsie & the Banshees, Subway Sect, Eater, The Subversives, The Adverts, the aptly named London, and Chelsea, which soon spun off Generation X.

Some new bands, such as London's Alternative TV and Edinburgh's Rezillos, identified with the scene even as they pursued more experimental sounds. A few already active bands including Surrey neo-mods The Jam and pub rockers such as The Stranglers and, particularly, Cock Sparrer also became associated with the punk rock movement. One of the groups openly acknowledging that influence were The Undertones, from Derry in Northern Ireland. Another punk band had formed to the south, Dublin's The Radiators From Space.

The Damned became the first UK punk rock band to release a single, the romance-themed "New Rose". The Sex Pistols followed the next month with "Anarchy in the U.K."—with its debut single the band succeeded in its goal of becoming a "national scandal". In December 1, an incident took place that sealed punk rock's notorious reputation: On Thames Today, an early evening London TV show, Sex Pistols guitarist Steve Jones was goaded into a verbal altercation by the host, Bill Grundy. Jones called Grundy a "dirty fucker" on live television, triggering a media controversy.

The Pistols' live TV skirmish with Bill Grundy was the signal moment in British punk's transformation into a major media phenomenon. Press coverage of punk misbehavior grew intense.

New groups continued to form around the country: Crass, from Essex, merged a vehement, straight-ahead punk rock style with a committed anarchist mission. 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. Such groups expressed punk rock's energy and aggression, while expanding its musical range with a wider variety of tempos and often more complex instrumentation. London's Wire took minimalism and brevity to an extreme. London's Tubeway Army, Belfast's Stiff Little Fingers, and Dunfermline, Scotland's The Skids infused punk rock with elements of synth and noise music. Liverpool's first punk group, the theatrical Big in Japan, didn't last long, but it spun off several well-known post-punk acts.

3.2. Literature

The punk attitude and ideology has gave rise to distinctive characteristics in its manifestations of literature. It has generated a considerable amount of poetry and prose, as varied as the subculture itself. It has had an influence on the popular transgressional fiction literary genre and several science fiction and fantasy genres                            Fanzines

have been named after it.

Punk literature, as a rule, is books, which concerned to punk-ideology, anti-utopia, they are full of cinism, alcohol, absurdity and anarchy. Also is is books about punks, their lifestyle, biographys and so on. Frequently it is books written by punks.

Punk influenced the cyberpunk literary genre. Punk zines have also spawned a considerable amount of punk-oriented prose and fiction, some of which has made an impact outside of punk circles. Notably Aaron Elliot's story, "Punk Rock Love is...", was published in Harper's in the early 90's, although it had to be significantly edited from the version originally published in Elliott's legendary fanzine Cometbus. Other notable punk authors are Joe Meno (novelist), Al Burian (of the Burn Collector fanzine) and Cindy Ovenrack Crabb (of the Doris fanzine).

Examples of British punk poets include: John Cooper Clarke, Seething Wells and  Attila  the  Stockbroker.  The Medway Poets, a British punk performance group, was formed in 1979, and included punk musician Billy Childish. They are credited with influencing Tracey Emin, who was associated with them as a teenager. Members of the Medway Poets later formed the Stuckists art group. A description by Charles Thomson of a Medway Poets

 Performance contrasts with the sedate image of traditional poetry

Bill Lewis jumped on a chair, threw his arms wide (at least once hitting his head on the ceiling) and pretended he was Jesus. Billy sprayed his poems over anyone too close to him and drank whisky excessively. Miriam told the world about her vagina. Rob and I did a joint performance posing, with little difficulty, as deranged, self-obsessed writers. Sexton finally introduced us to his girlfriend, Mildred, who turned out to be a wig on a wage of newspaper on the end of an iron pipe.

3.3. Films

         Many punk films have been made, and punk rock music videos and punk skate videos are common. The use of stock footage typifies punk film. Several famous groups have participated in movies, such as the Ramones in Rock 'n' Roll High School and the Sex Pistols in The Great Rock 'n' Roll Swindle. Some well-known punks have even had biopics made about them, such as Sid and Nancy, which tells the story of Sid Vicious                             “Sid and Nancy” film poster

(portrayed by Gary Oldman) and

Nancy Spungen (portrayed by Chloe Webb).

Original footage of punk bands is also often used in music documentaries. Numerous documentaries about specific punk bands include Westway to the World                                 

about The Clash, by punk filmmaker  Don   Letts. The   seminal   punk documentary is The Filth and the Fury, detailing the rise of the Sex Pistols. In addition to the members of that band and its affiliates (Malcolm McLaren, Vivienne Westwood, Nancy Spungen, etc.) it also features archival footage of Billy Idol, Sting, Shane McGowan, and a young teenaged girl who would grow up to be Siouxsie Sioux, among others. One of the highlights of the movie is footage of the Sex Pistols playing "God Save the Queen" on a barge in the middle of the Thames during the Silver Jubilee of Elizabeth II, and their subsequent arrest.

The No Wave Cinema and Remodernist film movements owe much to punk aesthetics. Derek Jarman and Don Letts are notable punk filmmakers. Many other films are associated with punk, such as 24 Hour Party People, which presents the evolution of punk rock into New Wave and Madchester.

2.5. Punk visual art

Punk visual art is artwork which often graces punk rock album covers, flyers for punk shows, and punk zines. It is characterised by deliberate violation, such as the use of letters cut out from newspapers and magazines, a device previously associated with kidnap and ransom notes, so the sender's handwriting was not revealed. Much of the earlier artwork was in black and white, because it was distributed in punk zines reproduced at copy shops, but when colour was used in more expensive productions it was often characterised by being high  key,  such as  the use of  fluorescent  pink and  yellow  contrasted  with black on the cover of  the  Sex  Pistols'   Never  Mind  the  Bollocks album designed by  Jamie Reid.  Otherartworks are  composed  of  cartoons,  especially in less overtly-political and apolitical bands.

Punk visual art can include anything from crudely scribbled letters to shockingly jarring figures drawn with sharp points everywhere. Often images and figures are cut and pasted from magazines to create a scene and the colors are often two tone and deeply contrasting. The main aesthetic of punk art seems to be to either shock, create a sense of empathy or revulsion, make a grander point with an acidic or sarcastic wit, poke fun at politics, political factions, or social factions, or create a humorous feel (though generally this is more prevalent in less serious, more pop-

Sex Pistols’ “God save the queen”                    Sex Pistols’ “Never mind the bollocks”

            single cover                                                album cover

punky bands).

The  Situationists  influenced  the  look of punk art.  Early  punk  also played a hand in the revival  of  stencil  art,  spearheaded  by  Crass. Usually  straightforward  with  clear  messages, punk art is often concerned with political issues such as social injustice and economic disparity. The use of images of suffering to shock and create feelings of empathy in the viewer is common. Alternatively, there may be images of self-violation, selfishness, stupidity, or apathy to provoke contempt in the viewer. Symbols of the establishment such as the Union Jack can be employed; the British Queen was depicted with a safety pin through her cheek. It can also subvert  more mundane societal norms, as in the satirical depictions of suburbia by Howard Arkley. Punk art often utilizes collage, exemplified by the art of Jamie Reid and Winston Smith. John Holmstrom was a punk cartoonist who created much artwork for the Ramones and Punk Magazine. The Stuckism art movement had their origin in punk, and titled their first major show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial. Charles Thomson, co-founder of the group, described punk as "a major breakthrough" in his art.

CHAPTER 4.  The cultural legacy of the British punk

The late-1960s British skinhead subculture had largely died out by 1972, but was revived in the late 1970s, partly because of the influence of punk rock. This led to the development of the working class Oi! movement. Conversely,soul, ska and reggae, popular among traditionalist skinheads, has had an influence on British punk music. Punks and skinheads have had both antagonistic and friendly relationships, depending on the social circumstances, time period and geographic location.

Malcolm McLaren played roles in introducing both punk and hip hop to the United Kingdom. Hip hop has influenced some punk and hardcore bands, such as Blaggers I.T.A., Biohazard, The Transplants and Refused.

The punk and heavy metal subcultures have shared similarities since punk's inception. The early 1970s metal scene was instrumental in the development of protopunk.  The New Wave of British Heavy Metal influenced the UK 82 style, and hardcore punk was a primary influence on thrash metal bands such as Metallica and Slayer; and by proxy, was an influence on death metal and black metal. The grunge subculture was in large a fusion of punk and metal styles in the late 1980s. However, metal's mainstream incarnations have proven anathema to punk. Hardcore and grunge developed in part as reactions against the metal music popular during the 1980s. The industrial subculture also has several ties to punk, in terms of music, fashion and attitude.

In punk's heyday, punks faced harassment and violent attacks from the general public and from members of other subcultures. It has been reported that in the UK, punks were involved in brawls with Teddy Boys, greasers and bikers. There was also considerable enmity between positive punks and the New Romantics. In the United States, punks sometimes faced abuse from rednecks and other right-wing groups such as white power skinheads.

Punk tendencies, appeared in Britain        

The world punk-culture has set of division, and many of them have arisen in Britain. They are:

• anarcho-punk (in 1970-1980s)
• Celtic punk (1970s in Ireland and UK) 
• crust punk (appeared from anarcho-punk in 1980-1990s) 
• folk-punk (1970s),
• Oi! (1970s, appeared from British skin-head subculture) 
• ska-punk
• UK-82.

        Also there are some subcultures within punk which widespread in USA and Europe, but not so popular in the UK (such as horror punk, queercore, scum punk, scame punk and straight edge)

Subcultures, influenced by British punk

        Punk influence on many subcultures. Here are those, who influenced by British punk:

• 2 Tone (origins: British 1970s punk, ska, rocksteady, reggae, pop)
• Goth (late-1980s UK post-punk)
• Grindcore (UK crust-punk and US hardcore-punk)
• Indie (mid 1980-s US and UK)
• Mod revival (late 1970s UK)
• Psychobilly (early 1980s UK)

THE LIST OF USED LITERATURE:

1. O’Hara C. Philosophy of punk: More than noise – 1999
2. Sabin R. Punk Pock: So what? (The cultural legacy of punk) – 1999
3. Inglis I. Performance and popular music: History, place and time – 2006
4. Morrison E. Memories of a street soldier – 1998
5. Blush S. The punk front 1978-79 – 2000
6. Aksuetina O.  Punk-culture as a phenomenon of a teenage culture – 2005
7. Aksuetina O.  Power and counter-culture in 1980-1990s - 2005

THE SUPPLEMENT

SUBCULTURES WITHIN PUNK