Punk Rock Revisiited

[nomadspike]

Here in San Francisco punk rock continues its resurgence with rockin' sick bands playing almost nightly in bars and clubs in the city and oakland. While drum & bass/house continue to draw the 'dance' crowd, rockers support the local live band scene and punk is thriving. In Bangkok the 'punk' scene seems way underground w/ punk shows bordering on the non-existent...and only the occasional indie or metal show for the 'alternative' music supporter. Can anyone give some insight into this? I love going out when in Bangkok but always find it near impossible to catch some good punk shows...

[stevehaigh]

Here in San Francisco punk rock continues its resurgence with rockin' sick bands playing almost nightly in bars and clubs in the city and oakland.  While drum & bass/house continue to draw the 'dance' crowd, rockers support the local live band scene and punk is thriving.  In Bangkok the 'punk' scene seems way underground w/ punk shows bordering on the non-existent...and only the occasional indie or metal show for the 'alternative' music supporter.  Can anyone give some insight into this?  I love going out when in Bangkok but always find it near impossible to catch some good punk shows...

<{POST_SNAPBACK}>

there was some discussion of rock bars a couple of weeks ago

http://www.thaivisa.com/forum/index.php?showtopic=50337

maybe you will find something in here.

[bluebear]

While drum & bass/house continue to draw the 'dance' crowd,

<{POST_SNAPBACK}>

drum and bass - the devils invention to create hel_l on earth

[nomadspike]

While drum & bass/house continue to draw the 'dance' crowd,

<{POST_SNAPBACK}>

drum and bass - the devils invention to create hel_l on earth

<{POST_SNAPBACK}>

Dam_. And I always believed...

"Rock has always been THE DEVIL'S MUSIC . . . I believe rock and roll is dangerous . . . I feel we're only heralding SOMETHING EVEN DARKER THAN OURSELVES."

David Bowie (Rolling Stone, Feb. 12, 1976)

[nomadspike]

Here in San Francisco punk rock continues its resurgence with rockin' sick bands playing almost nightly in bars and clubs in the city and oakland.  While drum & bass/house continue to draw the 'dance' crowd, rockers support the local live band scene and punk is thriving.  In Bangkok the 'punk' scene seems way underground w/ punk shows bordering on the non-existent...and only the occasional indie or metal show for the 'alternative' music supporter.  Can anyone give some insight into this?  I love going out when in Bangkok but always find it near impossible to catch some good punk shows...

<{POST_SNAPBACK}>

there was some discussion of rock bars a couple of weeks ago

http://www.thaivisa.com/forum/index.php?showtopic=50337

maybe you will find something in here.

<{POST_SNAPBACK}>

thanks but i'm not interested in 'rock bars' (ie bars like hard rock cafe that typically play '60s rock or bars that play hard rock/metal). i am looking for places that dig on punk and post punk ie early Clash, Stiff Little Fingers, Undertones, Avengers, Slits, X-Ray Spex...and later punk sounds like The Briefs, The Spits, etc. And bars/clubs that host live punk bands...

[stevehaigh]

thanks but i'm not interested in 'rock bars' (ie bars like hard rock cafe that typically play '60s rock or bars that play hard rock/metal).  i am looking for places that dig on punk and post punk ie early Clash, Stiff Little Fingers, Undertones, Avengers, Slits, X-Ray Spex...and later punk sounds like The Briefs, The Spits, etc.  And bars/clubs that host live punk bands...

<{POST_SNAPBACK}>

i'm no expert on BKK but i think you will have bugger all chance of finding music like that in thailand. i play drums in a few bar bands here in Ko Phangan and I can't find anyone that want's to play greenday.

[nomadspike]

thanks but i'm not interested in 'rock bars' (ie bars like hard rock cafe that typically play '60s rock or bars that play hard rock/metal).  i am looking for places that dig on punk and post punk ie early Clash, Stiff Little Fingers, Undertones, Avengers, Slits, X-Ray Spex...and later punk sounds like The Briefs, The Spits, etc.  And bars/clubs that host live punk bands...

<{POST_SNAPBACK}>

i'm no expert on BKK but i think you will have bugger all chance of finding music like that in thailand. i play drums in a few bar bands here in Ko Phangan and I can't find anyone that want's to play greenday.

<{POST_SNAPBACK}>

LOL. Can't blame em, Green Day are &lt;deleted&gt;. What sort of music are you playing on Koh Phangan? I'll be there next month saying up in Chaloklum. Fortunately the Dive Inn (diving school/bar) there is run by an old Brit punk and they play al sort of old-school punk...

[stevehaigh]

LOL.  Can't blame em, Green Day are &lt;deleted&gt;.  What sort of music are you playing on Koh Phangan?  I'll be there next month saying up in Chaloklum.  Fortunately the Dive Inn (diving school/bar) there is run by an old Brit punk and they play al sort of old-school punk...

<{POST_SNAPBACK}>

i love green day! how can you say ther're &lt;deleted&gt;!

anyhow, around here it's mostly stones, doors, beatles, etc. basically people that were dead or at least looked dead before you were born.

by the way, i used to play drums in the bay area. in fact, i one played with the brother of the signer from rancid!

Edited December 4, 2005 by stevehaigh

[frond]

There used to be a punk club in Chiang Mai, and some punk bands as well. I think that Thai kids are very trendy and only are interested in what's currently fashionable. Also the stereotypical punk look attracts alot of stares and the kids might be wary of embarrasing their families.

You can contact these guys to be put on a (e)mailing list, but it's mostly "indie-rock," electro, and hiphop:

[email protected]

Bands like X-ray Specs, The Slits, et al are pretty obscure. Those old punk albums you won't find here, even in Bangkok. Green Day and Good Charlotte are considered "punk" in Thaiand. I had a student who told me she loved punk music. I asked "what do you like?" "Green Day, Rooster, Good Charlotte." So I had her listen to Black Flag and the Circle Jerks--she HATED it!

i love green day! how can you say ther're &lt;deleted&gt;!

Because they are... The early stuff was a Buzzcocks ripoff and the new MTV acceptable "punk" is even worse!

I was into punk in the late 70s/early 80s when the DIY spirit ruled. Now it's commodified junk for teeny boppers.

[pluto_manibo]

THE CLASH...an incredibly underrated band....Unfortunately, I have not seen any worthwhile Punk acts in LOS....A lot of 60's crap, poor copies of 70's rock acts(with few exceptions)...I don't know why, but guitar oriented bar bands seem to be stuck in the 80's heavy/hard rock scene....shredders if you will...Cover bands always cover the same songs throughout Thailand....It would be refreshing to see some new blood and more diverse musical styles....I am off to my room, dusting off the old Les Paul, cranking up the Marshal, playing "Down on the farm" and "I fought the law!" ad-nauseum....

[Neeranam]

QUOTE

i love green day! how can you say ther're &lt;deleted&gt;!

Because they are... biggrin.gif The early stuff was a Buzzcocks ripoff and the new MTV acceptable "punk" is even worse!

I was into punk in the late 70s/early 80s when the DIY spirit ruled. Now it's commodified junk for teeny boppers.

I think some of green Day's stuff is passable, but it's not punk, as I know it.

I think the clash are good, but again not real punk.

What is real punk? I don't know

I like The Ramones, the Lurkers, Pistols, Crass, Rezillos, UK Subs, Cockney Rejects, Television, Undertones, Angelic Upstarts, Stiff Little Fingers etc I saw most of these bands when I was 15 ish.

There used to be a shop in Siam Square called, 'Anarchy" and it always had adverts(there's a classic band I forgot) of local punk gigs. These guys were cool - real punks, into real issues - how they got away with it in Thailand, i'll never know.

Anarchy was near the cinema.

[thaibebop]

Ya gotta know what anger is to like punk, and Thais don't get angry.

[nomadspike]

i love green day! how can you say ther're &lt;deleted&gt;!

anyhow, around here it's mostly stones, doors, beatles, etc. basically people that were dead or at least looked dead before you were born.

by the way, i used to play drums in the bay area. in fact, i one played with the brother of the signer from rancid!

<{POST_SNAPBACK}>

personally i've always found green day too poppy and a rather homogenised version of earlier pop-punk bands...that said, i know they've worked really heard and respect them for that.

i hear you re. the old bands still popular in thailand...i've been spending winters in thailand, off and on, since '89 and remember it being like that even when i first came over.

rancid are a good band, one of the only bands still carrying on in the tradition of the clash. and i agree with the poster that said the clash are very under-rated. they were the first punk band that inspired me back in '79 when i was 23 and living in LA...strummer was an extremely talented singer/songwriter and his politics a testament to his integrity. a must read is the book 'let fury have the hour', a reflection on his short life. R.I.P.

[Incalclickable]

While drum & bass/house continue to draw the 'dance' crowd,

<{POST_SNAPBACK}>

drum and bass - the devils invention to create hel_l on earth

<{POST_SNAPBACK}>

Dam_. And I always believed...

"Rock has always been THE DEVIL'S MUSIC . . . I believe rock and roll is dangerous . . . I feel we're only heralding SOMETHING EVEN DARKER THAN OURSELVES."

David Bowie (Rolling Stone, Feb. 12, 1976)

<{POST_SNAPBACK}>

David Bowie isnt punk. The punk movement was what a year? Sure there were lots of Bands that came out of that genre, but that was the nature of Punk back then. Everyone was in everyones band.

Have you ever seen bowie live? Ive seen him twice. Saw the Clash twice too, once on their own at Penn Rink, and the other time opening for the Stones at JFK.

All Im saying is that Bowie was def not Punk Rock.

Edited December 5, 2005 by Incalclickable

[Incalclickable]

QUOTE

i love green day! how can you say ther're &lt;deleted&gt;!

Because they are... biggrin.gif The early stuff was a Buzzcocks ripoff and the new MTV acceptable "punk" is even worse!

I was into punk in the late 70s/early 80s when the DIY spirit ruled. Now it's commodified junk for teeny boppers.

I think some of green Day's stuff is passable, but it's not punk, as I know it.

I think the clash are good, but again not real punk.

What is real punk? I don't know

I like The Ramones, the Lurkers, Pistols, Crass, Rezillos, UK Subs, Cockney Rejects, Television, Undertones, Angelic Upstarts, Stiff Little Fingers etc I saw most of these bands when I was 15 ish.

There used to be a shop in Siam Square called, 'Anarchy" and it always had adverts(there's a classic band I forgot) of local punk gigs. These guys were cool - real punks, into real issues - how they got away with it in Thailand, i'll never know.

Anarchy was near the cinema.

<{POST_SNAPBACK}>

Ohhhhhhhhhh no its the "where did Punk rock really begin" war all over again.

The Clash is certainly punk, you have to remember that back then all the bands intermingled, "everyone" was in a band and lots of people where in lots of bands.

Dont confuse Punk Rock with the fashion of PUnk that begin after the very short period that was the punk period. hel_l if you ask any punk rocker they wouldnt consider themselves punk rock, it was a label applied to a very short lived scene that began with yes...the Ramones.

The thing about Punk Rock is by its very nature it was doomed because the longer the musicians played the better they got which is the antithesis of what "Punk Rock" was.

IMHO,

The Ramones The Sex Pistols The Clash, Pretenders, Black Flag, Sonic Youth, New York Dolls, Dead Kennedys, The Banshees, The Damned, The Velvet Underground, The Buzzcocks, Iggy Pop AND NOT NIRVANA

[Neeranam]

The Ramones The Sex Pistols The Clash, Pretenders, Black Flag, Sonic Youth, New York Dolls, Dead Kennedys, The Banshees, The Damned, The Velvet Underground, The Buzzcocks, Iggy Pop AND NOT NIRVANA wink.gif

I pretty much agree with those bands, but maybe not "the clash", they were to "poppy".

Touring the States etc, sold out.

Bowie was one of my favourites and I saw him live in Scotland. He wasn't punk, but used to hang out with the two "godfathers" of punk - ' Lou Reed and Iggy Pop".

Pop's classics - 'No fun' and 'I wanna be you're dog' are real punk.

However in saying that I think of punk as a very british thing, as that is where I experienced it. O my first trip to London in the summr of 77, when I was 13, I was blown away by the music in the record shops - The Stranglers - something better change.

The first punk band I got into.

There is the argument between who came first - The Damned or the pistols, the Ramones or the Damned etc.

It could be argued that Chuck Berry, Buddy holly, Hank Williams were the start of punk.

There was a movement called punk that was very British - lots of silly young boys wanting to moan about their lives.

There were the hardcore ones like crass - "yes that's right Punk is dead, it's just another cheap product for the consumers head. But these guys were all ex-hippies.

Can you get middle-class punks?

It's not punk to discuss punk!

[Incalclickable]

The Ramones The Sex Pistols The Clash, Pretenders, Black Flag, Sonic Youth, New York Dolls, Dead Kennedys, The Banshees, The Damned, The Velvet Underground, The Buzzcocks, Iggy Pop AND NOT NIRVANA wink.gif

I pretty much agree with those bands, but maybe not "the clash", they were to "poppy".

Touring the States etc, sold out.

Bowie was one of my favourites and I saw him live in Scotland. He wasn't punk, but used to hang out with the two "godfathers" of punk - ' Lou Reed and Iggy Pop".

Pop's classics - 'No fun' and 'I wanna be you're dog' are real punk.

However in saying that I think of punk as a very british thing, as that is where I experienced it. O my first trip to London in the summr of 77, when I was 13, I was blown away by the music in the record shops - The Stranglers - something better change.

The first punk band I got into.

There is the argument between who came first - The Damned or the pistols, the Ramones or the Damned etc.

It could be argued that Chuck Berry, Buddy holly, Hank Williams were the start of punk.

There was a movement called punk that was very British - lots of silly young boys wanting to moan about their lives.

There were the hardcore ones like crass - "yes that's right Punk is dead, it's just another cheap product for the consumers head. But these guys were all ex-hippies.

Can you get middle-class punks?

It's not punk to discuss punk!

<{POST_SNAPBACK}>

I will not accept the assertion that the Clash are not punk!

and certainly not the idea that touring the states = selling out. Sid did all his best work here.

A lot of "punks" thought the clash sold out when they did that anti-racism gig, IMHO that was just a knee jerk reaction to everyone thinking they were racist for songs like white riot.

But you're right....we should not be discussing this! lol

[thaibebop]

The Ramones The Sex Pistols The Clash, Pretenders, Black Flag, Sonic Youth, New York Dolls, Dead Kennedys, The Banshees, The Damned, The Velvet Underground, The Buzzcocks, Iggy Pop AND NOT NIRVANA

<{POST_SNAPBACK}>

What about Dead Milkmen, Op Ivy, Screeching Weasel, The Misfits, & The Exiles?

And what's wrong with Nirvana? Are you one of those people who only listened to Nevermind?

Edited December 5, 2005 by thaibebop

[Neeranam]

If teh pretenders are punk then so are Blondie.

Dead Milkmen are a laugh but not really hard core punk.

A band I'm listening to now are punk - magazine.

[Incalclickable]

If teh pretenders are punk then so are Blondie.

Dead Milkmen are a laugh but not really hard core punk.

A band I'm listening to now are punk - magazine.

<{POST_SNAPBACK}>

OMG whats next ADAM ANT?

Chrissy played with all the bands and was actually more a part of the original scene than most bands. Shes about as OP as you can get.

Blondie?

Hey do you remember the "SURF PUNKS", that was some funny stuff. The only songs I can remember are "Too big for her Top" and "Shoulder Hopper".

Not punk , but funny.

Nirvana is not punk rock, in fact its probably the day most punk bands did a bowel movement and hung up their guitars. And no I never listened to nevermind, Nirvana was a joke, but hey to each his own.

Edited December 5, 2005 by Incalclickable

[Neeranam]

There were really two differnet groups of punks - those in UK and across the pond.

Debbie harry was involved in the Hee bee g bees or whatever it was called in NY, as were the velvets.

There were some very different bands in the Uk.

Nirvana weren't punk but were the greatest thing in music to come since the Smiths.

[Neeranam]

Motorhead were also classed as many punks I knew as passable. The only thing the punks and rockers didn't fight about.

[nomadspike]

QUOTE

i love green day! how can you say ther're &lt;deleted&gt;!

Because they are... biggrin.gif The early stuff was a Buzzcocks ripoff and the new MTV acceptable "punk" is even worse!

I was into punk in the late 70s/early 80s when the DIY spirit ruled. Now it's commodified junk for teeny boppers.

I think some of green Day's stuff is passable, but it's not punk, as I know it.

I think the clash are good, but again not real punk.

What is real punk? I don't know

I like The Ramones, the Lurkers, Pistols, Crass, Rezillos, UK Subs, Cockney Rejects, Television, Undertones, Angelic Upstarts, Stiff Little Fingers etc I saw most of these bands when I was 15 ish.

There used to be a shop in Siam Square called, 'Anarchy" and it always had adverts(there's a classic band I forgot) of local punk gigs. These guys were cool - real punks, into real issues - how they got away with it in Thailand, i'll never know.

Anarchy was near the cinema.

<{POST_SNAPBACK}>

Ohhhhhhhhhh no its the "where did Punk rock really begin" war all over again.

The Clash is certainly punk, you have to remember that back then all the bands intermingled, "everyone" was in a band and lots of people where in lots of bands.

Dont confuse Punk Rock with the fashion of PUnk that begin after the very short period that was the punk period. hel_l if you ask any punk rocker they wouldnt consider themselves punk rock, it was a label applied to a very short lived scene that began with yes...the Ramones.

The thing about Punk Rock is by its very nature it was doomed because the longer the musicians played the better they got which is the antithesis of what "Punk Rock" was.

IMHO,

The Ramones The Sex Pistols The Clash, Pretenders, Black Flag, Sonic Youth, New York Dolls, Dead Kennedys, The Banshees, The Damned, The Velvet Underground, The Buzzcocks, Iggy Pop AND NOT NIRVANA

<{POST_SNAPBACK}>

LOL. What is punk? Check this out, hehe...

1. punk

TRUE: louder, faster form of rock and roll, often antiestablishment

FALSE: fast, tonedeaf pop-rock, often about relationships

TRUE: The Ramones

FALSE: Blink 182

2. punk

A) Music movement started in the 70's with multiple reasons and causes. There was an Americn and British Punk movement. Proto-punk bands such as Iggy Pop and the Stooges, the Motor City 5, and the Velvet Underground were influential in setting the stage for taking the risks bands like The Ramones, The Dictators, The New York Dolls, and Blondie did.

The British movement supposedly was started by one of the following: The ecnomic disaster that occured in the mid seventies, and the youth's lack of patience with the british government. A movement made out of boredom by Johnny Rotten, lead singer of the Sex Pistols.

This Movement caused the creation for most genres of music today, it's even represented in the roots of such types as hip hop, rap, pop, modern rock, goth, electro, two-tone. It did not create these genres, but it certainly kicked down the door for them.

Culture started in the 70's by the same music movement. The point of the culture was like the music, be yourself and disregard the angry emotions it may stir up. No longer a real culture, only a burned image with the values behind it lost, you can see it in stores such as Hot Topic. People No longer understand it was always about being yourself and not being anyone's shadow.

C) Modern Movement, characterized by some bands that have actually kept the movement alive, some by giving off the image, and pop-punk bands that are, regardless of what people want to say, in way of the Ramones and even the Misfits. Pop Punk is a very melodic form of punk, it's not " pop" because it's popular, it's pop because of the style of playing. Bands that try to sell an image alone with no true love for the music are the ones made fun of the most, with little or no time together before being popularized by mainstream tv. These are the same bands that promote a pre-made image that's ready to sell to a pre-teen to early adult demographic. For the most part it works, and this entire culture has been reffered to as " Mallcore" or " mallxcore," because these are the same people that have never heard of the Ramones or Sex Pistols but think they're punk because they shop at hot topic and listen to MTV's Flavor of the week " band." feel free to laugh at these people, most people who know what the music is about do.

The Current culture is in a sad state because it's focused on replicating the 70's instead of being itself. There are a few who understand it and refuse to subscribe to the image mold.

D) Music Structure. Many like to characterize this genre with Power chords only and simple drum beats. These People are complete and utter idiots and should be regarded as imbecils. They more than likely know nothing about music in the first place, or are just that type of idiot that doesn't understand other types of music can be good, and that music, like other things, is all about opinion. Punk has had it's fair share of complicated guitar solos, insane drumming performances, all while keeping a melody, which most " jam bands" sorely lack, along with talent and lyrical prowess. Many of the early punk bands did utilize simple chords and beats, but like all types of music, it branched out and has many styles, from simple to complex, traditional to exotic, it all has to do with where you're looking.

3. punk

Punk is not deifinitive. Its music, and whatever itmeans to a induvidial person.

Often a movement from the Punk Rock music, often a fast 3 chord style inspired of early rock n roll. However also element of ska and other genres is often seen. De definition punk came up in the late 70's but the music has ben alround probaly for decays, but the name was given after the English music magazine "punk" wich featured bands as patty smith and the sex pistols. Many bands such as Cock sparer (UK formed 1974) and the Ramones (usa formed 1974) is today considered punk. Gary bushel, English music journalist named certain punk bands "Oi!" (Cockney slang, means "Hey!" "hi!" or "hello!") However today the the punk, and most of all the SKinhead movement has taken this word and made it a aprt of their way of life. However it would be a matter of opinions wich band is a punk band and wich is an Oi! band. There has always ben political opinion invovled in punk lyrics, but not a certain parti political line. Many punk lyrics ex:

Ramones, I'm against it:

"I dont' like politics, I don't like communists, I don't like games and fun, I dont like anyone! And im against it!"

Cock sparrer, watch your back:

"We don't wanna be part of a new religion, we don't wanna be fooled with a swizz balde knife, We don't wanna be part of a political dream, just wanna get on living out life"

However other bands like Crass has clearly a string left ving political moment.

A band like the Exploited and the sex pistols, has posed with nazi symbols, but their lyrics are in no way right or particually left ving. It seems like a provocation against exstremists, both left and right and the casual person.

Both extreme left ving and extreme right ving punk bands have ben seen, but has not becomed a generel considered typical role model for people interested in the punk scene

Punk is not a fashion, its a way of life

4. punk

The wide-spread basic understanding/definition of “punk” includes a basic wanting to be different, is who is different.

A “real punk” will never stereotype themselves. To put this in perspective, have you ever heard a cheerleader say “Oh my god, I’m SO prep, that girl over there dressed in all pink is SUCH a wannabe poser.” … I doubt it…if you have, I pity you…greatly….for even knowing OF such a person. When someone’s says “Oh my god, look at that POSER!!!!” Does that honestly make them “punk” and therefore “cool?”

The name also came from punk rock. A form of hard-driving rock 'n' roll originating in the 1970s, characterized by harsh lyrics attacking conventional society and popular culture, and often expressing alienation and anger. Rock music with deliberately offensive lyrics expressing anger and social alienation; in part a reaction against progressive rock. (there are other definitions of this on this site way better than this one) This is what started the whole thing. But punk rock goes AGAINST stereotyping, (that would be the conventional society and popular culture) and calling oneself “punk” is just that.

There are “real punks” and posers. They ARE two separate categories. The above just proves that there are a LOT more posers then there appear to be.

First of all: “real punks”

“Real punks” are technically punk rockers.

A performer or follower of punk rock music.

However, in today’s hypo-heterogeneous music gene pool, there is hardly any real punk music, as a definition. It’s always “punk rock,” “punk pop” whatever. They all count. Punk (as defined above) is a type of music defined by LYRICS and ATTITUDE.

This means that punk rockers are listeners of punk music, with punk music categorized by the message the band is sending.

This is how we get posers.

“Punks” tend to dress a little crazy (crazy to “normal” people, the rest just think blue hair is cool) but it never really became a “fashion” until certain celebrities started calling it that. (Avril, Hilary)

Yes. Sadly, all those old school, before it became popular, punks were screwed over by, you guessing it, POPULAR CULTURE. Suddenly it became “cool” to be “punk.” To dress different, and do crazy things with ones hair and makeup.

This is not to say that everyone who does this, even younger people (and by younger I’m referring to people who couldn’t possibly have been punk rockers before, as in they weren’t born in the 1970’s,) are posers. You are a punk rocker if you listen to punk music. It doesn’t matter what you dress like.

How you DRESS has NOTHING to do with being punk. It means that either A) you honestly like the clothing style that has been termed “punk” and you wear it because of that or You’re a POSER trying to be cool and you think your clothes will do that for you and you’re no better than preps who obsess with clothes to become popular and think that other people’s clothing defines them just like it will define you as “punk” and “cool.”

Punks by definition, both above and social don’t WANT to be cool. They want to be themselves and rebel against anything they feel is suppressing them.

Posers are much easier to define them punks. Posers are people who pretend to be “punk” because they think it’ll make them “cool”

What I really want people to see is that by calling yourself a “punk” how much of a loser that makes you look. Claiming to be “punk” and calling other people “posers” does NOT mean you are a poser, I never said that, but if you think that it makes you “cool” to be “punk” and call other people “posers”, then you are. Realize that punk is NOT A FASHION STYLE, AND CLOTHING MEANS NOTHING WHAT-SO-EVER. Anyone who basis any judgment what someone is wearing and labels them from that is either a poser themselves or just a ######ing rude and ignorant person.

The determination of punk vs. poser is not in CLOTHES or anything like that, but someone’s TRUE music preference and mindset regarding society and life.

Someone who likes music like that of the Ramones and/or the Casualties (punk music) and dresses however they want, doesn't care what people think of them, and who could care less about being famos and just wants to live.

5. punk

Punk changed. It's not dead, but the name is being abused. Good punk, the old stuff, like MDC, The Clash, Misfits, Subhumans, Dead Kennedys etc., are being pissed on by bands like Blink-182 or Good Charlotte. Although bands like Blink and GC are called punk, they don't have the punk feel. They just feel poseurish. If they're reading this : Dressing punk doesn't make you punk.

Classic Punk - MDC, The Clash, The Misfits, Dead Kennedys, Subhumans, Vice Squad, The Damned, Crass, Toxic Narcotic, Toy Dolls, The Ramones, Adicts, Lower Class Brats, etc.

Posuer Punk - Blink 182, Good Charlotte, Simple Plan, Green Day, etc.

PUNK: ###### ALL MODS, ###### ALL MODS!!!!

6. punk

A very wide genre of rock started in 1977 that has a sound that has infleunced countless types of music some of which including: streetpunk, oi, d-beat, crust powerviolence, pop-punk, grind, indie, emo, screamo, hardcore, deathrock, 77, uk82, glam, hair metal, speed metal, and even sludge metal.

It is a label that is largely misunderstoof by the public (despite what they may think) and so overused that obvious fallacies to what the style is (fast, loud, and hard) have become accepted. Such clearly pop acts like Hilary Duff have been labeled punk which is downright laughable.

Punk has become too wide of genre to apply to any specific type of music now. Almost any band that plays fast, loud, and hard can be called punk, although not always correctly.

The punk music label has become simply a matter of perspective, for example: a common streetpunk might say that The Casualties are a punk band, while a crust punk would simply laugh at this, and then proceed to listen to Axegrinder.

7. Punk

1)Punk is a type of music in rock. Like a different type of rock would be ska, metal, or alternative. Punk, is usually reffered to as a type of music that contains a scratchy guitar sound, fast beat, and write about mostly the government and politics. Though, it always doesn't have to be that. Punk could be in your own terms.

2)A person that listens to mostly punk rock in general and doesn't care what other people say about him/her and always does his/her own thing. THAT's a real punk.

Punk Rock bands : the Misfits, Ramones, Green Day, the Explosion, and Rancid are some talented bands.

and anyone who says they're a punk, then be one, don't listen to other people, you are what you ######ing are.

punk, punk rock, punx, punk rocker, punker

9. punk

Cool caveman music with a ######you attitude. Only real punks know the sounds associated with true punk.

>

It's really pretty undefinable but most people who think they know what it is or how it's supposed to sound usually have alot of wrong ideas about it thanks to Mtv in the 80's and beyond.

>

punk is all about being yourself, liking what you like, doing what you do and not having to live upto someone elses expectations, only your own. there is no dress code, hair colour or rules to be punk, since punk is about being true to yourself.

>

^^^###### an A bud,that's right the ###### on!

People should just be them ######in selves and stop being goth or emo or metal or black metal or death metal or punks or preps or jocks or &lt;deleted&gt; or what the ###### ever else and just ######in be cool and have some ######in respect for one another.

punk is about not bein a punk

>

think,say,do,be what you want

>

listen to whatever ######in music you like

>

dress however you want to dress

>

stop tryin to impress others so hard

>

stop trying to fit into any one particular ######ing category so hard as this is the most anti-establisment thing you can do is not let anybody define you and categorize you and label you

>

You don't have to have a mohawk or tattoos or piercings,you don't have to do any mother######ing thing to fit in with any ######ing body

###### the trends, quit trying to fit in, don't belong to a clique or subculture or group or cult, listen to what you want, stop being a dick, wear what you want to wear

Source: `###### it ,, ~~~~~~ stop tryin so hard to be cool,

"A guy walks up to me and asks 'What's Punk?'. So I kick over a garbage can and say 'That's punk!'. So he kicks over the garbage can and says 'That's Punk?', and I say 'No that's trendy!

[nomadspike]

Punk History Lesson # 1

‘Let Fury Have the Hour’: The Passionate Politics of Joe Strummer

by Antonino D’Ambrosio

Joe Strummer, the pioneering punk rock musician, former front man of the Clash, and political activist, died of a rare heart condition at his home in Somerset, Broomfield, England at the age of fifty on December 22, 2002. Barely twenty-five years earlier the Clash burst onto the London music scene to become one of the great rebel rock bands of all time—fusing a mélange of musical styles, with riotous live performances, and left-wing political activism, that inspires many to this day.

By the mid 1970s, England’s postwar prosperity was melting away into rising unemployment, shrinking social service programs, and increasing poverty. The wrecked economy fueled an incendiary social situation as racism, xenophobia, and police brutality became the order of the day. Mounting feelings of anger, frustration, and a deepening sense of isolation left much of English youth feeling hopeless. Trying to make sense of this mess, many found a means of expression in punk rock. More than just hard driving rock and roll, punk rock was heralded by many as a counterculture movement, a philosophy, and a way of life. Punk stood in direct opposition, aesthetically and politically, to the reigning rock establishment—then dominated by a style called “glam rock”—and it attacked conventional society. Glam was pretentious, overproduced, slick, and bourgeois. Punk rock, in stark contrast, was angry, loud, aggressive, and rooted in working/lower class alienation. With its four chords, simple catchy melodies, fast tempo, and ironic witty lyrics it proved irresistible.

Strummer told me the Clash was inspired by groups like the MC5 of Detroit, a cultural organ of the White Panthers, “We wanted to be more like them, using our music as a loud voice of protest...punk rock, at the heart of it, should be protest music.” While most bands spiraled into ridiculous caricatures of themselves, the Clash, under Strummer’s influence, became the definitive punk rock band. They drew a line in the sand and dared all to cross it and join them. While the Sex Pistols spent their time being reactionary, tawdry, and snide, the Clash were active, thoughtful, and serious.

Throughout his twenty-five years in music, Strummer touched millions. Billy Bragg, a fellow English musician and activist inspired by Strummer’s socially conscious music, said it best, describing Strummer as unwavering in “his commitment to making political pop culture.” Living true to his words, Strummer held onto his political ideals throughout his life in spite of intense media rancor and the highly demanding expectations of fans as they clung to his every word as if it were scripture. The pressure would have crushed a lesser person.

Like many people growing up during the Reagan era, discovering the Clash transformed my world view. It was nothing like I had ever heard before. The music’s energy, spirit, and searing lyrics gave voice to feelings of alienation and hopelessness, as well as anger and defiance, that I had not yet articulated.

Through his songwriting Strummer consistently critiqued capitalism, advocated racial justice and opposed imperialism. He showed young people there are alternatives to the complacency, opportunism, and political ambivalence that dominate popular culture. Strummer’s music remains an enduring legacy of radicalism, defiance, and resistance.

Creative Resistance

In April 2002, I had the good fortune to meet with Joe Strummer on several occasions, discussing a wide-range of issues. One theme emerged repeatedly in these conversations—using the past to better understand the present and shape the future was fundamental to Strummer’s creative activism. May 1968 in Paris, the student and labor movements of Italy’s hot autumn, and the election and overthrow of Salvador Allende in Chile were just some of the key events that Strummer cited to explain his politicization. Punk rock, and Strummer in particular, would borrow heavily from these movements—not just ideologically but aesthetically as well. “Punk rock for me was a social movement” he states, “we tried to do the things politically we thought were important to our generation and hopefully would inspire another generation to go even further.”

As a musician, Strummer redefined music and reaffirmed the principles of committed and intelligent opposition. He seemed to be involved in so many different movements and supported so many causes before they were fashionable. The Clash were at the forefront of the Rock against Racism movement founded in the seventies to combat the rise of the far-right National Front. Never afraid of controversy, Strummer pushed the Clash to support publicly the H-Block protests in Northern Ireland, which began in 1976 when the British took away the political status of IRA “prisoners.” He performed for the last time on November 15, 2002 at a benefit for striking London firefighters. For someone who used his music to galvanize and promote progressive action, this final performance was most fitting.

Strummer’s unique partnership with Mick Jones, his main collaborator and lead guitarist in the Clash, brought a revolutionary sense of excitement to modern music. Strummer and Jones quickly recognized the power of rap music that was just emerging from New York City’s underground in the late seventies. “When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.”

With typical Clash inventiveness, they became one of the first white groups to incorporate rap into their music. As a tribute to the path-breaking Sugar Hill Gang, the Clash recorded The Magnificent Seven, one of their best-known and most important singles. In another example that marked the Clash’s commitment to challenging social conventions, they enlisted several New York City rap groups to join their huge Clash on Broadwaytour. At the time, this was extremely controversial since it was widely believed that combining the two disparate audiences and musical genres would result in racial mayhem.

Reflecting on the group’s influence, I suggested to Strummer that hip-hop has replaced punk rock as the dominant political pop cultural force in spirit, vitality, and creativity. He responded, “No doubt about it, particularly in respect to addressing the ills of capitalism and providing a smart class analysis, underground hip-hop, not the pop-culture stuff, picked up where punk left off and ran full steam ahead.”

The Greatest Rebel Rock Band of All Time

On New Year’s Eve 1976, the Clash played as an opening act for the top-billed Sex Pistols. Impressed, the Sex Pistols asked the Clash to join them on the infamous 1977 “Anarchy in the UK” tour which, due to the wild and foolish antics by some of the bands, intense media scrutiny, and police harassment, labeled punk rock as public enemy number one. While parents, police, and politicians sounded the alarm, young people were hooked.

Strummer, a former busker and squatter, characterized the early days as filled with both hope and frustration. “Many in the punk scene were confused, mixing various political ideologies.” The effect was that punk rock musicians were easy targets for ridicule and attack by the monarchy, media, parliament, and the police. According to Strummer, the objective was to present a clearer, unified stance with a more thoughtful and relevant political message. It was also obvious to Strummer early on that punk rock was vulnerable to co-optation by the music industry with the eager assistance of opportunistic musicians. He indicted them for this with a song, White Man in Hammersmith Palais:

Punk rockers in the UK

They won’t notice anyway

They’re all too busy fighting

For a good place under the lighting

The new groups are not concerned

With what there is to be learned

They got Burton suits, hah you think it’s funny

Turning rebellion into money

All over people changing their votes

Along with their overcoats

If Adolf Hitler flew in today

They’d send a limousine anyway

Strummer blamed many of the bands of the time for allowing punk rock to degenerate into a “shameful product hawked by the record companies” and “used to promote right wing ideals.” In no way did he want to be part of the creative and social diluting of the punk rock philosophy. The Clash’s eponymous first studio album clearly marked where they stood on things.

The album addressed social issues including classism, racism, and police and state sanctioned brutality. By bringing together a broad range of musical influences, which had previously been segregated by the music industries marketing strategies, it significantly changed modern music. There were brilliant covers of old rock classics, infusions of R&B, fractured pop, a well-balanced mix of ska, dub, and reggae, and of course what became the signature sound of the Clash: thought provoking lyrics sung in Strummer’s unique Cockney accent, a blistering and angry style layered over aggressive compositions.

The Clash’s music, coupled with its explosive live performances, let people know that they were not only a creative bunch but also that they had something important to say on the state of things. Although produced for next to nothing, the Clash’s first album became the largest selling American import in music history. America loved the Clash’s music and its message, and the record companies took note.

“The same issues we were struggling against then are even more important now like British and US imperialism.” Strummer continues, “when we wrote I’m So Bored with the U.S.A., it touched a nerve for young people on both sides of the Atlantic.” The lyrics are sharp and compelling:

Yankee dollar talk

To the dictators of the world

In fact it’s giving orders

An’ they can’t afford to miss a word

Other songs addressed the growing disaffection young people felt as they faced the harsh realities of the job market in 1976. Career Opportunities became a classic protest song for many:

They offered me the office, offered me the shop

They said I’d better take anything they’d got

Do you wanna make tea at the BBC?

Do you wanna be, do you really wanna be a cop?

Career opportunities are the ones that never knock

Every job they offer you is to keep you out the dock

Career opportunity, the ones that never knock

“Industrial society offered nothing really, and as we moved to this more fragmented society with more emphasis on technology the state was looking for us to work according to our class... it all seemed about controlling class, particularly the lower classes.”

Clashing with America

In 1979, the Clash headed to America. In between this tour and the first album the Clash had conquered the UK and Europe. They released another album Give ‘Em Enough Rope and were in the process of putting together the Clash “masterpiece,” London Calling. “Two devastating things happened at this time,” Strummer recalls. “Margaret Thatcher became Prime Minister of England and Ronald Reagan became President of the U.S....it was hard to tell who would be worse but we knew that a tremendous struggle was ahead...their tendencies leaned to the far-right if not fascism.”

The Clash always drew inspiration from, and paid homage to, other rebel musicians, especially black musicians from the United States and the Caribbean. Still, it was when they collaborated with these musicians that they ran head-on into the racism of the music industry, and some of their fans. While touring the United States the Clash had selected the pioneering American rock-n-roll artist, Bo Diddley, as their opening act. Diddley was a hero to Strummer. The Clash were excited that the tour would help them connect with their American audience. However, they were shocked by the intense racism the tour encountered in the South because of Diddley’s presence. “The record label was unsupportive from the word go because Give ‘Em [Enough Rope] did not sell like our first album, they hated our choice of Bo Diddley and we refused to pick a different support act and resisted their attempt to repackage us as new wave.” Strummer and his band mates were determined to resist pressure from industry bosses to refashion punk rock into the more commercial, less political, and more docile new wave mold.

The lack of record support was just the start. Strummer recalled his disappointment with the bad press that greeted the Clash in the United States labeling them “evil punk rockers” looking to “spread communism to American youth.” The short eight-date-tour further politicized Strummer. He felt it opened his eyes to the “commodification of music” and “exposed the terrible resistance and hatred of anything that attempts to grow outside the dominant economic and social structure.” On the other hand, there were a few shows like the legendary performance at New York’s Palladium that taught Strummer an important lesson. “We must use negative situations” Strummer said, “to refocus and redirect anger and frustration and fashion music that is powerful to all who listen, always upsetting the status quo.”

London Calls and So Do the Sandinistas

Upon the completion of the American tour, the Clash began their next album, London Calling. It showed maturity and growth in many areas. Musically it incorporated roots music, folk, New Orleans R&B, reggae, pop, lounge jazz, ska, hard rock, and punk. Recorded in New York City, the landmark album still is influential. I related to Strummer my own experience of hearing the album for the first time. The themes, music and attitude sharply mirrored my own reality as a kid in an immigrant family growing up in an industrial park in the mid 1980s.

One song in particular, Clampdown, affected me deeply. The song is a pointed and stark account of work in Darwinian capitalist society. At its core, the song presents the contradictions that force us to believe that if only we work hard, don’t complain, and don’t rock the boat, we can get ahead. Step on whomever you wish, it doesn’t matter, just look out for number one.

The song expressed the anxieties of working-class youth who were wanted only for menial jobs, to be part of the state’s repressive apparatus, or to join racist right-wing movements.

You grow up and you calm down

You’re working for the clampdown

You start wearing the blue and brown

You’re working for the clampdown

So you got someone to boss around

It makes you feel big now

You drift until you brutalize

You made your first kill now

The same song also advocates an alternative, a common Strummer theme, the need for working-class rebellion:

The judge said five to ten—but I say double that again

I’m not working for the clampdown

No man born with a living soul

Can be working for the clampdown

Kick over the wall, cause government’s to fall

How can you refuse it?

Let fury have the hour, anger can be power

D’you know that you can use it?

“Yeah” Strummer begins, “this song and our overall message was to wake-up, pay attention to what really is going on around you, politically, socially all of it...before you know it you have become what you despise.” The album catapulted the Clash into the international spotlight. They played and the world listened. Being the biggest rock band on the planet at the time brought increased attention and the inevitable harsh criticism, particularly in regards to the political stance of Strummer and the group.

The redbaiting and right-wing attacks increased ten fold when the Clash publicly supported the Sandinista Revolution. “Our support of the Sandinistas was the worst thing in the world we could do according to our record label” Strummer recalled, “the label heads said our music would not sell—too political—especially in America where the Reagan administration was conspiring to destroy the Sandinistas.” Strummer wrote Washington Bullets criticizing the U.S. involvement in Central and South America, while noting Jimmy Carter’s last-minute withdrawal of aid to the Samoza regime:

As every cell in Chile will tell

The cries of the tortured men

Remember Allende, and the days before,

Before the army came

Please remember Victor Jara,

In the Santiago Stadium,

Es verdad—those Washington bullets again

For the very first time ever,

When they had a revolution in Nicaragua,

There was no interference from America

Human rights in America

Well the people fought the leader,

And up he flew,

With no Washington bullets what else could he do?

In 1980, the Clash released the triple album Sandinista. The long simmering disputes with their label, Epic, became a pitched battle when the band demanded that the album be priced affordably, by which they meant the usual price of one album. Epic finally relented, but only after the Clash agreed to cover the difference out of their pockets. “Political decisions never balance out well with business unless of course they’re capitalist based political decisions...if we did an album in support of the Contras it would have been different” Strummer joked. Whether due to Epic’s resistance, the political controversy, or to fans put off by the group’s constant musical experimentation, the sales of Sandinista were disappointing compared to London Calling. Nonetheless, the Clash’s following was growing.

A Big Hit and Then a Crash

Combat Rock, released in 1982, again highlighted the social consciousness and leftist politics that forever distinguish the band and Strummer. With the release of the single, Rock the Casbah, the Clash had a huge hit on their hands. The song had been written as an exuberant response to an Islamic cleric’s ban on rock music. In an ironic twist, imperialists have appropriated the song to their own ends. “You know the U.S. military played this song in the first Gulf War to the troops and now are using it again as they prepare for war,” Strummer shared, “this is just typical and despicable.”

At Shea Stadium in Queens, New York, in 1982, the Clash played a series of sold out shows reminiscent of the Beatles performance there many years before. These were the last shows with Mick Jones, who was forced out of the band by Strummer and the band’s manager. Strummer confided, “I committed one of the greatest mistakes of my life with the sacking of Mick.” After releasing an atrocious album in 1985, the Clash broke up for good. Sadly, Strummer and Jones did not share a stage again until the benefit concert that was Strummer’s final public performance.

‘I’m Gonna Keep Fightin’ for What I Believe Is Right’

Strummer’s originality is a trait characterizing both the man and the musician. With his most recent and final music project, the Mescaleros, Strummer was reborn. Remarkably, his new music displays a steadfast work ethic both creatively and politically. Irrespective of what he had accomplished up to this point in his career, I had a sense that he was restless and that his best work lay ahead.

Strummer and the Mescaleros recorded two highly innovative studio albums, Rock Art and the X-Ray Style in 1999, and Global A Go-Go in 2001. The music Strummer recorded with the Mescaleros is as culturally diverse a sound as I’ve heard. There are the familiar influences of rockabilly, traditional rock-n-roll and R&B, but added to the mix are new sounds. Strummer brought together music from Africa, Latin America, and the West Indies as well as heavy doses of hip-hop style beats.

The albums showcase a renewed, vibrant Joe Strummer producing music that is remarkably different from his previous work. I mentioned that I watched a taped interview in which he cautioned young people not to buy his new music if all they wanted was a replay of Rock the Casbah. I ask him to elaborate. “Simple”, he said, “new bands are going around saying we love the Clash but they have no sense or understanding of history” neither culturally nor politically. He added that they “pick up the new stuff and expect to hear songs like Rock the Casbah, which is not at all what I am doing now and furthermore Casbah is easy....” The word “easy” was a serious putdown from an artist who worked always to be challenging.

Like his work with the Clash, the new music with the Mescaleros is original and political, but more insightful and mature. With the musical growth there is a deepening of political consciousness reflected in stunning compositions and poetic, freely associative lyrics concerning a host of global subjects. Both albums focus on many social issues but most poignantly Global A Go-Go captures Strummer’s take on how war, poverty, and intolerance are ripping the world apart. Songs like Johnny Appleseed chart the impact of globalization and Bhindi Bhagee discusses the need for ethnic tolerance. The songs are intelligent Woody Guthrie-like meditations but with a multicultural internationalist awareness that stands against global capitalism. Shaktar Donetsk laments the fate of refugees, seeking an illegal haven in England, who suffocated in a smuggler’s truck:

Welcome to Britain! In the Third Millennium

This is the diary of a Macedonian

He went to Britain in the back of lorry

Don’t worry, don’t worry, don’t hurry

Said the man with a plan

He said, if you really wanna go

You’ll get there in the end

If you really wanna go

Alive or dead my friend

Well you can levitate you know

Long as the money’s good you’re in

Strummer left much unfinished. With Bono of U2 and Dave Stewart formerly of the Eurythmics, he was working on a song in tribute to Nelson Mandela titled 48864, after Mandela’s prison number. They were going to perform it together at the end of the Mandela SOS AIDS benefit concert for Africa, on Robben Island on February 2. The Clash had planned a one-night-only reunion at the Rock-N-Roll Hall of Fame induction ceremony in March 2003.

Speaking on the day of Strummer’s death, Billy Bragg found the right words once again, “Joe was always breaking new ground musically and politically...he is one of the last artists who was not afraid to be on the left politically, a thorn in the side of capitalism.” Chuck D, pathbreaking rap artist and founding member of Public Enemy, credited Strummer and groups like the Clash with “showing me that music can be a powerful social force and it must be used to challenge the system.”

At the end of each show, Strummer and the Mescaleros performed a cover of the classic resistance song The Harder They Come, the Harder They Fall by reggae great Jimmy Cliff. As with all he did Strummer put his indelible mark and unique spin on the song. Playing the same Telecaster guitar he started out with over twenty-five years ago and using his cutting, brash voice with uncompromising bluster, he let us know:

And I keep on fighting for the things I want

Though I know that when you’re dead you can’t

But I’d rather be a free man in my grave

Than living as a puppet or a slave...

[thaibebop]

If teh pretenders are punk then so are Blondie.

Dead Milkmen are a laugh but not really hard core punk.

A band I'm listening to now are punk - magazine.

<{POST_SNAPBACK}>

OMG whats next ADAM ANT?

Chrissy played with all the bands and was actually more a part of the original scene than most bands. Shes about as OP as you can get.

Blondie?

Hey do you remember the "SURF PUNKS", that was some funny stuff. The only songs I can remember are "Too big for her Top" and "Shoulder Hopper".

Not punk , but funny.

Nirvana is not punk rock, in fact its probably the day most punk bands did a bowel movement and hung up their guitars. And no I never listened to nevermind, Nirvana was a joke, but hey to each his own.

<{POST_SNAPBACK}>

Okay, you never listened to Nevermind but some how you know they were a joke? I realize that most people don't think of them as punk, they used melodies what punk band does that, yet Bleach and Incesticide pretty much were punk albums. I am not attacking you, but this is main reason why I never joined a music genre, especially anything underground, cause everybody was always complaining about what is and what wasn't, instead of just enjoying the music.

[Sporting Dog]

Am I a real punk if I say that I didnae read them posts above because they looked like boring pretentious &lt;deleted&gt;!!!

[nomadspike]

Am I a real punk if I say that I didnae read them posts above because they looked like boring pretentious &lt;deleted&gt;!!!

<{POST_SNAPBACK}>

Yes. You are a Real Punk.

[nomadspike]

Am I a real punk if I say that I didnae read them posts above because they looked like boring pretentious &lt;deleted&gt;!!!

<{POST_SNAPBACK}>

Yes. You are a Real Punk.

<{POST_SNAPBACK}>

Or suffer from ADD. Come to think of it ADD would make a great name for a punk band

[steveromagnino]

Can we get back on subject here without all this drivel about punk?

Now...about that drum and bass

Real drum and bass:

- Ed Rush & Optical

- Grooverider/Codename John

- Anyone from Brazil, Australia, or also Brixton, Skunthorp and other assorted English places who makes DnB

Posuer drum and bass:

- Spice Girls If you Want to be my lover

- Anyone American who claims to be D and the B. Except anyone who is actually good.

Real Jungle:

-Tarantula, Pendulum

- Uprising, Artificial Intelligence

Loser Jungle:

- The area around Laem Da Kong on the other side of the road behind the railway, where it is hard to get to, and without a map, there is a danger of getting lost

King of the Rollaz

- Doc Scott, Goldie and the whole Metalheadz crew

King of the Anthill Idiots

- Mc Skibbidee (who is the worst MC ever) and anyone who sounds like him (which is most of them - where is the skill in saying yo yo yo yo yo yo yo yo X 400000 times + inserting shout outs to my crew/your crew/crewcut etc)

Regarding punk, wasn't the sex pistols just a way for Macolm MacLaren to make his movie the Rock and Roll Swindle or something about how to cash in on all that moolah with a pretty inept bunch of musicians (who were also remarkably clever regarding societeee and that sort of malarky)....can someone explain what that was all about? I be well young innit, and not aware of dis info.

[nomadspike]

Can we get back on subject here without all this drivel about punk?

Now...about that drum and bass    

Real drum and bass:

- Ed Rush & Optical

- Grooverider/Codename John

- Anyone from Brazil, Australia, or also Brixton, Skunthorp and other assorted English places who makes DnB

Posuer drum and bass:

- Spice Girls If you Want to be my lover

- Anyone American who claims to be D and the B.  Except anyone who is actually good.

Real Jungle:

-Tarantula, Pendulum

- Uprising, Artificial Intelligence

Loser Jungle:- The area around Laem Da Kong on the other side of the road behind the railway, where it is hard to get to, and without a map, there is a danger of getting lost

King of the Rollaz

- Doc Scott, Goldie and the whole Metalheadz crew

King of the Anthill Idiots

- Mc Skibbidee (who is the worst MC ever) and anyone who sounds like him (which is most of them - where is the skill in saying yo yo yo yo yo yo yo yo X 400000 times + inserting shout outs to my crew/your crew/crewcut etc)

Regarding punk, wasn't the sex pistols just a way for Macolm MacLaren to make his movie the Rock and Roll Swindle or something about how to cash in on all that moolah with a pretty inept bunch of musicians (who were also remarkably clever regarding societeee and that sort of malarky)....can someone explain what that was all about?  I be well young innit, and not aware of dis info.

<{POST_SNAPBACK}>

Yes, let's get back on topic:

Punk Rock Revisiited, Is punk dead? The Drum & Bass backlash..

In my humble opinion, 'punk rock' is definitely not dead. Sure the pistols were clever , took the piss out of everything and they were rather inept musically. That said, punk returned rock & roll to the basics — three chords and a simple melody. And bands like the clash wrote some brilliant songs and political lyrics that influenced a generation. In the states atleast, 'punk', while still underground, continues to thrive.