Finished at last!
Dec. 30th, 2001 02:09 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
alixandreaFinally I've done it! OK, so its 2,500 words instead of the required 2000, but I'm sure I can cut it down for the academics. Please feel free to comment on it, I'm sure I've got loads wrong! :-)
So, here for your pleasure is the complete, unabridged:
The Rise of Punk and the Alternative Music Scene in the 1980's.
Introduction:
Punk – (noun.) Of poor quality, useless. Any of various substances that smoulder when ignited. (Archaic) a prostitute. (Slang) a young person, especially a member of a rebellious counter-culture group. A performer (or enthusiast) of Punk Rock. Rock music with deliberately offensive lyrics expressing anger and social alienation.
Alternative – (adj.) Espousing or reflecting values that are different from those of the establishment or mainstream. Existing outside traditional or established institutions or systems. Pertaining to unconventional choices ‘an alternative lifestyle.’ The choice between two mutually exclusive possibilities. A situation presenting such a choice.
Punk was arguably the last counter-culture youth movement. Although it had its roots in many different areas, it managed to be entirely fresh and new, shocking the establishment and setting new ground rules for everything from music to sex, clothing to television. It also spawned many other smaller sub-cultures, many of which are still alive and well today. In this essay I shall be examining the roots of the Punk movement, how it developed and what it produced.
Punk had a varied background. There was Glam Rock, with artists such as David Bowie and T-Rex who lent its colour, outrageous makeup and clothing. Skinheads with their aggressive attitude and ‘working class’ clothing such as Doc Martin boots and donkey jackets. Punk and Skinhead later merged to become the ‘Oi!’ movement, which gave Punk its bad reputation for violence. There were also the Rockers and Bikers, who wore the first customised leather jackets, covered in spikes and chains, and painted with band logos. They were also the first to wear ripped clothing, although the trademark Punk safety pins were to come later.
There is a widespread belief that Punk began in London in the early 1970’s. Although most of the more famous early Punk events can be attributed to the capital, a lot of the original ideas actually came from New York. In the late ‘60s there was Andy Warhol’s Factory in Manhattan, ‘the Factory was similar to the shop SEX in London… - though the art was on the T-shirts instead of on canvas.’ In the early 1970’s, a band called the New York Dolls were already experimenting with ‘frenetic thrashing songs and apparently fashion-less cross-dressing.’ It was in America in 1974 that the Ramones started playing, publicising themselves as, ‘a bunch of three-chord-playing idiotic morons.’
The beginnings of Punk in the UK happened in London town. It was here, at the ‘wrong end’ of the King’s Road (the end furthest from Sloane Square, known as the World’s End) that Malcolm McLaren and Vivienne Westwood ran a shop, then known as ‘Too Fast to Live, Too Young to Die.’ At the beginning of the 70s it sold mainly ‘Teddy Boy’ outfits, drape suits with wide lapels and creepers. It was here that the New York Dolls came in October 1972, while on tour in the UK. McLaren and Westwood were immediately impressed (Malcolm eventually went on to manage the ‘Dolls near the end of their careers.) They changed the name of the shop to SEX and started selling more fetish and bondage clothing, the traditional Punk tartan bondage clothing was first sold here, and in a shop close by called ‘Granny Takes a Trip’.
SEX wasn’t just a shop however. There was a couch and a jukebox inside, and many of the early proto-punks came here to meet and hang out. Glen Matlock, the first bass player for the Sex Pistols worked at SEX as a Saturday boy, Chrissie Hynde, Siouxsie Sioux, Steve Severin and the other members of the Sex Pistols all used to go into the shop, not just to buy (or steal) clothes, but also to meet up. There was a feeling in London at the time of being let down by the superstars of the day. The ‘rock stars’ and musicians who had hit the big time were no longer rebelling against the system the way they had originally portrayed. The younger generation felt cheated and distanced from their idols. The only local music scenes consisted of longhaired ‘Pub-Rock’ bands, who were basically only doing covers of the popular music of the time. There was nothing new, different or exciting, no rebellion.
There is a rumour (put about it would seem by McLaren himself) that the Sex Pistols were manufactured by Malcolm McLaren. In fact the band were already rehearsing by the time Malcolm got involved. They needed a bass player, and a place to rehearse as their last bassist had supplied studio space. Malcolm introduced Glen Matlock to the band, and they took him on. John Lydon joined as their singer a little later and became Johnny Rotten.
Throughout 1975, the Punk movement grew. Most of the people involved were teenagers wanting to rebel against a stale music and fashion scene. They went to gay clubs like Louise’s in Soho, or Chaguarama’s in Covent Garden, as people were more open and relaxed about clothing and the way people acted. There were no rules about how to dress, except, ‘no hippies’. The newspapers first started noticing the scene in ‘75, but at first they ignored it, as they had no idea what to make of it.
This all changed in 1976, which was known as the ‘Summer of Punk.’ In February, the New Musical Express printed an article with the title, ‘Watch Out, the Sex Pistols are Coming!’ The Pistols had been rehearsing and playing small venues such as Andrew Logan’s loft apartment and St Martin’s Art College to prepare. They were originally part of the art scene, but were seen as being ‘rowdy, uneducated thugs’ due to the fights that broke out at their gigs. They played the Marquee on 12th February, supporting Eddie and the Hot Rods, and totally trashed the stage. In April they played the Nashville Rooms, where Vivienne Westwood started a fight and the Pistols jumped off the stage to break it up. However, the first proper ‘Punk Festival’ took place at the Screen on the Green in Edmonton.
The Sex Pistols played with several of the other more influential ‘Punk’ bands of the time, including The Clash and the Buzzcocks. The Sex Pistols influenced many bands; people had been of the opinion that musicians were all gods. The Pistols changed that, people started thinking, ‘if they can do it, so can we.’ The next major event was at the 100 Club in Oxford Street, on 20th September. The Sex Pistols played along with Subway Sect, Siouxsie and the Banshees, The Damned and several others. It was here that Sid Vicious threw a glass at The Damned, which shattered on a pillar and reportedly blinded a girl. All these events served to give publicity to the Punk movement, and in October EMI signed the Pistols. Anarchy in the UK was released a little later, but was beaten to No.1 by the Damned’s song New Rose, which was officially the first Punk single. Soon after the Sex Pistols, along with The Damned, The Clash and The Heartbreakers from New York set off on the first ever Punk tour. Of 19 dates booked, the bands only ever played 5, as all the local councils either refused to allow them to play, or insisted on auditioning them. Leee Childers who managed the Heartbreakers spoke for all the bands when he said; ‘my boys wouldn’t audition for some jumped-up council, not in a million years.’
At the end of the year, the Sex Pistols did an interview on television for the Bill Grundy Show. It made them infamous across the country due to their ‘obscene’ language. They had been drinking beforehand and hadn’t realised that the show was going out live. The next day The Sun reported that a trucker had been so incensed by the language, he had kicked his television to pieces. The Pistols made front-page news, and were instantly catapulted to stardom. 1976 also saw the rise of the slogan-covered t-shirts, and bondage trousers. Fanzines were also introduced, short, home-produced magazines created by the fans for the fans. Everyone who was interested in Punk felt as if they had to get involved somehow, those who couldn’t make music wrote fanzines or made clothing or art.
In 1977, Chaguarama’s became the Roxy club, which was set up to showcase purely Punk bands. Many now-famous groups played some of their first gigs here, including X-Ray Spex and The Jam. Punk hit popular culture thanks mainly to the media. It became global. The concept of the ‘cardboard cut-out punk’ made the scene more accessible but also more stale, as people began to jump on the bandwagon and copy their favourite artists. What had originally been about being different, unique, became a stereotype image. It was in ’77 that reggae began to be associated with the Punk scene, as John Lydon (Johnny Rotten from the Pistols) went on radio to play his favourite records. Glen Matlock left the Sex Pistols and Sid Vicious joined to replace him. The New York influence and Nancy Spungen introduced Vicious to heroin, which would prove to be his downfall.
The original idea of Punk had been to inject life into a stale alternative music scene. Everything had become mainstream, boring, there was no rebellion. The people who made Punk happen were from all classes, but were rebelling against the class divide. Many of the bands were very politically minded; the lyrics to ‘God Save the Queen’ by the Sex Pistols were a direct attack on the establishment. ‘London Calling’ by The Clash is an anti-war song. This political stance would influence many bands later as Punk merged with other styles throughout the 80’s.
However, by the end of the 70’s, Punk had also become mainstream. What had started out with no more than a couple of hundred people had become a stereotype. The Sex Pistols split up in 1979; the split was closely followed by the demise of first Nancy Spungen and then Sid Vicious. People were looking for a new direction, something just as ‘out there’ and different as Punk, but softer perhaps, less violent.
Of course, Punk influenced many splinter cultures but one of the first to emerge from the aftermath was New Wave. Within the Punk movement there had always been the ‘poseurs’ people who loved to dress differently but were more Glam. They had hung out in the same clubs, like Louise’s but had been more feminine in their approach. When Louise’s closed down in 1978, they had nowhere else to go, until a small club off a back street in Soho called Gossips started its ‘Bowie Night.’ This was a weekly club that happened on a Tuesday night. It practically started the movement towards weekday club nights, as before clubs had mainly been open only at the weekends. When Gossips got too small, the club moved into the Blitz. The people who went there were called Blitz Kids; one famous member was George O’Dowd, later Boy George of Culture Club.
New Wave music was far more electronic in sound. Early influences included both Glam and early electro-pop bands such as Kraftwerk. It was far more dance-music oriented and used a lot of sequenced melodies and rhythms. Bands include Depeche Mode, Soft Cell, Gary Numan, Ultravox, The Human League and Visage. Throughout the 1980’s, New Wave (which by this time had been given the name New Romanticism by the media) occupied the charts and the airwaves. New Wave was far more commercial than Punk but has influenced many great dance acts. There would not be EBM or Industrial music today if there hadn’t been New Wave before it.
‘The video revolution changed everything as well. Coinciding with… the New Wave movement, music video added a whole new dimension to music as an art form. MTV can certainly be attributed to the exposure and subsequent success of many a fleeting New Wave artist.’
As New Wave took off, another ‘style tribe’ emerged from the ashes of Punk. This one actually had its roots in punk, with Siouxsie and the Banshees and The Damned’s Dave Vanian. He used to wear all black with black and white make-up. The terms for these people were originally ‘Posi-Punks’ or ‘Death Rockers.’ ‘Goth’ comes from several origins. The band Joy Division was described as ‘Gothic compared to the mainstream’ on a BBC television program, ‘Something Else’ in September 1979. In the same year, Bauhaus released the song ‘Bela Lugosi’s Dead’, a tongue-in-cheek song about the actor who originally played Dracula in the 1929 film of the same name. The sound of this song, empty, bass-led with deep, almost tuneless male vocals, was to influence many of the bands that came after. Siouxsie, and Andi Sex Gang from the Sex Gang Children were both described as Gothic in the late 70’s, early 80’s.
The first Goth nightclub was The Batcave in London, closely followed by Slimelight, which is still open today. Their patrons wore mainly black, with some purples, whites and reds added in. Velvets, lace and leather were favoured, and many Goths had elements of other scenes in their fashion. Makeup was a white face with dark eyes and either black or blood red lips. Musically, they listened to anything from Punk and New Romantic roots, as well as the more ‘Gothic’ bands such as Sisters of Mercy, Bauhaus and The Damned. ‘Goth’ is still alive and well today with the music still just as much of a mixture as ever. Anything goes, from Punk through original Goth and New Romantic music to Dance, EBM and Industrial.
Conclusion:
There have been many other counter-cultures that have been influenced by Punk. The original hippy movement merged with Punk to create the ‘New Age Travellers’ with their environment-friendly conscience and finger-on-the-pulse awareness of political issues. Bands from this group are similar to Punk but have more traditional instruments added in, such as violins and flutes. Examples include New Model Army and The Levellers. This scene merged with Heavy Metal in the early 1990s to produce Grunge and later Skate Punk (which had merged with Hip-Hop to give us Nu-Metal today.) As the dance movement grew, there emerged the Ravers, Cyber-Punks and Technos. The independent record labels that had sprung up from the Punk era continued and gave us Indie music, with major bands like Travis and Oasis. Punk has had a huge effect on the music we listen to today; although the music in the charts is still just as vacuous and meaningless as chart music was pre-Punk, the underground music scene is thriving and some of it is making its way out into the mainstream. 25 years on, the question must be asked – will there be another Youth Movement?
Bibliography:
‘I was a Teenage Sex Pistol’ – Glen Matlock
‘Rotten’ – John Lydon
‘Street Style’ – Ted Polhemus
‘Style Surfing’ – Ted Polhemus
‘Punk’ – Stephen Colegrave and Chris Sullivan
‘The Sun’ newspaper.
http://www.scathe.demon.co.uk/histgoth.htm
http://www.gothics.org/subculture/articles/undead.php
http://www.gothics.org/subculture/origin.php
http://www.nwoutpost.com/nwhist.html
sluts@twisted.org.uk
http://www.sfgoth.com/primer/
http://google.com/
www.angelfire.com/on/clash/
So, here for your pleasure is the complete, unabridged:
The Rise of Punk and the Alternative Music Scene in the 1980's.
Introduction:
Punk – (noun.) Of poor quality, useless. Any of various substances that smoulder when ignited. (Archaic) a prostitute. (Slang) a young person, especially a member of a rebellious counter-culture group. A performer (or enthusiast) of Punk Rock. Rock music with deliberately offensive lyrics expressing anger and social alienation.
Alternative – (adj.) Espousing or reflecting values that are different from those of the establishment or mainstream. Existing outside traditional or established institutions or systems. Pertaining to unconventional choices ‘an alternative lifestyle.’ The choice between two mutually exclusive possibilities. A situation presenting such a choice.
Punk was arguably the last counter-culture youth movement. Although it had its roots in many different areas, it managed to be entirely fresh and new, shocking the establishment and setting new ground rules for everything from music to sex, clothing to television. It also spawned many other smaller sub-cultures, many of which are still alive and well today. In this essay I shall be examining the roots of the Punk movement, how it developed and what it produced.
Punk had a varied background. There was Glam Rock, with artists such as David Bowie and T-Rex who lent its colour, outrageous makeup and clothing. Skinheads with their aggressive attitude and ‘working class’ clothing such as Doc Martin boots and donkey jackets. Punk and Skinhead later merged to become the ‘Oi!’ movement, which gave Punk its bad reputation for violence. There were also the Rockers and Bikers, who wore the first customised leather jackets, covered in spikes and chains, and painted with band logos. They were also the first to wear ripped clothing, although the trademark Punk safety pins were to come later.
There is a widespread belief that Punk began in London in the early 1970’s. Although most of the more famous early Punk events can be attributed to the capital, a lot of the original ideas actually came from New York. In the late ‘60s there was Andy Warhol’s Factory in Manhattan, ‘the Factory was similar to the shop SEX in London… - though the art was on the T-shirts instead of on canvas.’ In the early 1970’s, a band called the New York Dolls were already experimenting with ‘frenetic thrashing songs and apparently fashion-less cross-dressing.’ It was in America in 1974 that the Ramones started playing, publicising themselves as, ‘a bunch of three-chord-playing idiotic morons.’
The beginnings of Punk in the UK happened in London town. It was here, at the ‘wrong end’ of the King’s Road (the end furthest from Sloane Square, known as the World’s End) that Malcolm McLaren and Vivienne Westwood ran a shop, then known as ‘Too Fast to Live, Too Young to Die.’ At the beginning of the 70s it sold mainly ‘Teddy Boy’ outfits, drape suits with wide lapels and creepers. It was here that the New York Dolls came in October 1972, while on tour in the UK. McLaren and Westwood were immediately impressed (Malcolm eventually went on to manage the ‘Dolls near the end of their careers.) They changed the name of the shop to SEX and started selling more fetish and bondage clothing, the traditional Punk tartan bondage clothing was first sold here, and in a shop close by called ‘Granny Takes a Trip’.
SEX wasn’t just a shop however. There was a couch and a jukebox inside, and many of the early proto-punks came here to meet and hang out. Glen Matlock, the first bass player for the Sex Pistols worked at SEX as a Saturday boy, Chrissie Hynde, Siouxsie Sioux, Steve Severin and the other members of the Sex Pistols all used to go into the shop, not just to buy (or steal) clothes, but also to meet up. There was a feeling in London at the time of being let down by the superstars of the day. The ‘rock stars’ and musicians who had hit the big time were no longer rebelling against the system the way they had originally portrayed. The younger generation felt cheated and distanced from their idols. The only local music scenes consisted of longhaired ‘Pub-Rock’ bands, who were basically only doing covers of the popular music of the time. There was nothing new, different or exciting, no rebellion.
There is a rumour (put about it would seem by McLaren himself) that the Sex Pistols were manufactured by Malcolm McLaren. In fact the band were already rehearsing by the time Malcolm got involved. They needed a bass player, and a place to rehearse as their last bassist had supplied studio space. Malcolm introduced Glen Matlock to the band, and they took him on. John Lydon joined as their singer a little later and became Johnny Rotten.
Throughout 1975, the Punk movement grew. Most of the people involved were teenagers wanting to rebel against a stale music and fashion scene. They went to gay clubs like Louise’s in Soho, or Chaguarama’s in Covent Garden, as people were more open and relaxed about clothing and the way people acted. There were no rules about how to dress, except, ‘no hippies’. The newspapers first started noticing the scene in ‘75, but at first they ignored it, as they had no idea what to make of it.
This all changed in 1976, which was known as the ‘Summer of Punk.’ In February, the New Musical Express printed an article with the title, ‘Watch Out, the Sex Pistols are Coming!’ The Pistols had been rehearsing and playing small venues such as Andrew Logan’s loft apartment and St Martin’s Art College to prepare. They were originally part of the art scene, but were seen as being ‘rowdy, uneducated thugs’ due to the fights that broke out at their gigs. They played the Marquee on 12th February, supporting Eddie and the Hot Rods, and totally trashed the stage. In April they played the Nashville Rooms, where Vivienne Westwood started a fight and the Pistols jumped off the stage to break it up. However, the first proper ‘Punk Festival’ took place at the Screen on the Green in Edmonton.
The Sex Pistols played with several of the other more influential ‘Punk’ bands of the time, including The Clash and the Buzzcocks. The Sex Pistols influenced many bands; people had been of the opinion that musicians were all gods. The Pistols changed that, people started thinking, ‘if they can do it, so can we.’ The next major event was at the 100 Club in Oxford Street, on 20th September. The Sex Pistols played along with Subway Sect, Siouxsie and the Banshees, The Damned and several others. It was here that Sid Vicious threw a glass at The Damned, which shattered on a pillar and reportedly blinded a girl. All these events served to give publicity to the Punk movement, and in October EMI signed the Pistols. Anarchy in the UK was released a little later, but was beaten to No.1 by the Damned’s song New Rose, which was officially the first Punk single. Soon after the Sex Pistols, along with The Damned, The Clash and The Heartbreakers from New York set off on the first ever Punk tour. Of 19 dates booked, the bands only ever played 5, as all the local councils either refused to allow them to play, or insisted on auditioning them. Leee Childers who managed the Heartbreakers spoke for all the bands when he said; ‘my boys wouldn’t audition for some jumped-up council, not in a million years.’
At the end of the year, the Sex Pistols did an interview on television for the Bill Grundy Show. It made them infamous across the country due to their ‘obscene’ language. They had been drinking beforehand and hadn’t realised that the show was going out live. The next day The Sun reported that a trucker had been so incensed by the language, he had kicked his television to pieces. The Pistols made front-page news, and were instantly catapulted to stardom. 1976 also saw the rise of the slogan-covered t-shirts, and bondage trousers. Fanzines were also introduced, short, home-produced magazines created by the fans for the fans. Everyone who was interested in Punk felt as if they had to get involved somehow, those who couldn’t make music wrote fanzines or made clothing or art.
In 1977, Chaguarama’s became the Roxy club, which was set up to showcase purely Punk bands. Many now-famous groups played some of their first gigs here, including X-Ray Spex and The Jam. Punk hit popular culture thanks mainly to the media. It became global. The concept of the ‘cardboard cut-out punk’ made the scene more accessible but also more stale, as people began to jump on the bandwagon and copy their favourite artists. What had originally been about being different, unique, became a stereotype image. It was in ’77 that reggae began to be associated with the Punk scene, as John Lydon (Johnny Rotten from the Pistols) went on radio to play his favourite records. Glen Matlock left the Sex Pistols and Sid Vicious joined to replace him. The New York influence and Nancy Spungen introduced Vicious to heroin, which would prove to be his downfall.
The original idea of Punk had been to inject life into a stale alternative music scene. Everything had become mainstream, boring, there was no rebellion. The people who made Punk happen were from all classes, but were rebelling against the class divide. Many of the bands were very politically minded; the lyrics to ‘God Save the Queen’ by the Sex Pistols were a direct attack on the establishment. ‘London Calling’ by The Clash is an anti-war song. This political stance would influence many bands later as Punk merged with other styles throughout the 80’s.
However, by the end of the 70’s, Punk had also become mainstream. What had started out with no more than a couple of hundred people had become a stereotype. The Sex Pistols split up in 1979; the split was closely followed by the demise of first Nancy Spungen and then Sid Vicious. People were looking for a new direction, something just as ‘out there’ and different as Punk, but softer perhaps, less violent.
Of course, Punk influenced many splinter cultures but one of the first to emerge from the aftermath was New Wave. Within the Punk movement there had always been the ‘poseurs’ people who loved to dress differently but were more Glam. They had hung out in the same clubs, like Louise’s but had been more feminine in their approach. When Louise’s closed down in 1978, they had nowhere else to go, until a small club off a back street in Soho called Gossips started its ‘Bowie Night.’ This was a weekly club that happened on a Tuesday night. It practically started the movement towards weekday club nights, as before clubs had mainly been open only at the weekends. When Gossips got too small, the club moved into the Blitz. The people who went there were called Blitz Kids; one famous member was George O’Dowd, later Boy George of Culture Club.
New Wave music was far more electronic in sound. Early influences included both Glam and early electro-pop bands such as Kraftwerk. It was far more dance-music oriented and used a lot of sequenced melodies and rhythms. Bands include Depeche Mode, Soft Cell, Gary Numan, Ultravox, The Human League and Visage. Throughout the 1980’s, New Wave (which by this time had been given the name New Romanticism by the media) occupied the charts and the airwaves. New Wave was far more commercial than Punk but has influenced many great dance acts. There would not be EBM or Industrial music today if there hadn’t been New Wave before it.
‘The video revolution changed everything as well. Coinciding with… the New Wave movement, music video added a whole new dimension to music as an art form. MTV can certainly be attributed to the exposure and subsequent success of many a fleeting New Wave artist.’
As New Wave took off, another ‘style tribe’ emerged from the ashes of Punk. This one actually had its roots in punk, with Siouxsie and the Banshees and The Damned’s Dave Vanian. He used to wear all black with black and white make-up. The terms for these people were originally ‘Posi-Punks’ or ‘Death Rockers.’ ‘Goth’ comes from several origins. The band Joy Division was described as ‘Gothic compared to the mainstream’ on a BBC television program, ‘Something Else’ in September 1979. In the same year, Bauhaus released the song ‘Bela Lugosi’s Dead’, a tongue-in-cheek song about the actor who originally played Dracula in the 1929 film of the same name. The sound of this song, empty, bass-led with deep, almost tuneless male vocals, was to influence many of the bands that came after. Siouxsie, and Andi Sex Gang from the Sex Gang Children were both described as Gothic in the late 70’s, early 80’s.
The first Goth nightclub was The Batcave in London, closely followed by Slimelight, which is still open today. Their patrons wore mainly black, with some purples, whites and reds added in. Velvets, lace and leather were favoured, and many Goths had elements of other scenes in their fashion. Makeup was a white face with dark eyes and either black or blood red lips. Musically, they listened to anything from Punk and New Romantic roots, as well as the more ‘Gothic’ bands such as Sisters of Mercy, Bauhaus and The Damned. ‘Goth’ is still alive and well today with the music still just as much of a mixture as ever. Anything goes, from Punk through original Goth and New Romantic music to Dance, EBM and Industrial.
Conclusion:
There have been many other counter-cultures that have been influenced by Punk. The original hippy movement merged with Punk to create the ‘New Age Travellers’ with their environment-friendly conscience and finger-on-the-pulse awareness of political issues. Bands from this group are similar to Punk but have more traditional instruments added in, such as violins and flutes. Examples include New Model Army and The Levellers. This scene merged with Heavy Metal in the early 1990s to produce Grunge and later Skate Punk (which had merged with Hip-Hop to give us Nu-Metal today.) As the dance movement grew, there emerged the Ravers, Cyber-Punks and Technos. The independent record labels that had sprung up from the Punk era continued and gave us Indie music, with major bands like Travis and Oasis. Punk has had a huge effect on the music we listen to today; although the music in the charts is still just as vacuous and meaningless as chart music was pre-Punk, the underground music scene is thriving and some of it is making its way out into the mainstream. 25 years on, the question must be asked – will there be another Youth Movement?
Bibliography:
‘I was a Teenage Sex Pistol’ – Glen Matlock
‘Rotten’ – John Lydon
‘Street Style’ – Ted Polhemus
‘Style Surfing’ – Ted Polhemus
‘Punk’ – Stephen Colegrave and Chris Sullivan
‘The Sun’ newspaper.
http://www.scathe.demon.co.uk/histgoth.htm
http://www.gothics.org/subculture/articles/undead.php
http://www.gothics.org/subculture/origin.php
http://www.nwoutpost.com/nwhist.html
sluts@twisted.org.uk
http://www.sfgoth.com/primer/
http://google.com/
www.angelfire.com/on/clash/
