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Pub rock (Australia)

Mon, 01 Jan 0001 00:00:00 +0000

Background#

The emergence of the Australian version of the pub rock genre and the related pub circuit was the result of several interconnected factors. From the 1950s to the 1970s, mainly because of restrictive state liquor licensing laws, only a small proportion of live pop and rock music in Australia was performed on licensed premises (mostly private clubs or discotheques); the majority of concerts were held in non-licensed venues like community, church or municipal halls. These concerts and dances were ‘all-ages’ events—often with adult supervision—and alcohol was not served. During the 1960s, however, Australian states began liberalising their licensing laws. Sunday Observance Acts were repealed, pub opening hours were extended, discriminatory regulations — such as the long-standing ban on women entering or drinking in public bars — were removed, and in the 1970s the age of legal majority was lowered from 21 to 18. Concurrently, the members of the so-called “Baby Boomer” generation — who were the main audience for pop and rock music — were reaching their late teens and early twenties, and were thus able to enter such licensed premises. Pub owners soon realised that providing live music (which was often free) would draw young people to pubs in large numbers, and regular rock performances soon became a fixture at many pubs.

Pub rock (United Kingdom)

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Pub rock was deliberately nasty, dirty and post-glam. Bands looked menacing and threatening, “like villains on The Sweeney”. According to David Hepworth, Dr. Feelgood looked as if they had “come together in some unsavoury section of the army”. Pub rock groups disdained any form of flashy presentation. Scene leaders like Dr. Feelgood, Kilburn and the High Roads and Ducks Deluxe played simple, “back to mono” rhythm and blues in the tradition of white British groups like the Rolling Stones and the Yardbirds, with fuzzy overdriven guitars and whiny vocals. While pub rockers did not have expensive stage shows, they took inspiration from early R&B and increased the dynamism and intensity of their live shows. Pub rock allowed a variety of singers and musicians to perform, even if they did not adhere to a clearly defined musical genre. This means that pub rock labels could afford to put out records with a tenth of the sales of mainstream bands. The pub rock scene was primarily a live phenomenon. During the peak years of 1972 to 1975, there was just one solitary Top 20 single (Ace’s “How Long”), and all the bands combined sold less than an estimated 150,000 albums. Many acts suffered in the transition from pub to studio recording and were unable to recapture their live sound. Pub rock’s small venue approach increased the importance of good songwriting and well-written lyrics, in contrast to mainstream pop which had marginalised both elements. The UK pub rock scene wound down by 1976. The record industry was already looking into early punk, thinking it might be the next “big thing”. In 1976, some pub rock labels were putting out both the harder-edged pub rock acts and early punk bands such as The Damned.

Puerto Rican hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

Early influences (late 1970s-1980s)#

During the early days of hip-hop in 1972, marginalized black and Afro-Caribbean communities (along with Nuyorican communities in the Bronx) started producing the hip-hop movement. What at first was a coping mechanism to their environment of marginalization and poverty, an anti-drug, anti-violence social movement began a musical revolution in the Bronx. American Artists like DJ Kool Herc, Africa Bambaataa, DJ Disco Wiz laid the groundworks of the hip-hop movement, while groups like Rock Steady Crew contribute heavily to the breakdancing movement, adding their contributions to the multicultural movement. Despite circulating beliefs saying “Puerto Ricans co-created hip-hop”, it is important to note that old-school hip-hop and the hip-hop movement in general was an African-American movement based on African-American music in the United States inherent to the intrinsic roots of African-American people. However, it is equally important to include the indispensable contributions of Nuyoricans that played a role in the shaping of American hip-hop. In the 1960s and 1970s, the Bronx was a hotbed of crime with warring gangs going after each other’s throats, and the Bronx itself was the battlefield of all of it. Until the gang pact Hoe Avenue peace meeting was catalyzed after the death of Afro-Nuyorican-Jewish founder of street gang/band leader, Benjamin Melendez (Also known as “Black Benjie”) in honor of Black Benjie trying to stop a gang fight. Several dangerous and notorious gangs such as the Savage Skulls, the Ghetto Brothers, the Black Spades, the Tomahawks, Latin Kings, and many more came together to this single spot to arrange a truce to end all gang-on-gang violence, instead replacing the violence with dancing, rap competitions, DJing, and graffiti. Afrika Bambaataa played a key role in this meeting, whom set the terms and foundation of the hip-hop movement. He was a member of the Black Spades African-American street gang.

Puirt à beul

Mon, 01 Jan 0001 00:00:00 +0000

Term#

The Scottish Gaelic term port à beul refers to “a tune from a mouth—specifically a cheerful tune—which in the plural becomes puirt à beul”. In Scotland, they are usually referred to as puirt à beul but a variety of other spellings and misspellings also exists, for example port-a-beul, puirt a bheul, puirt a’ bhéil, etc. These are mostly because a number of grammatical particles in Gaelic are very similar in nature, such as the definite article a, the prepositions “of” and “to” which can both be a and the preposition á “from” which can appear without the acute accent. Modern Irish dictionaries give port (aireacht) béil, translated as “mouth music” also referred to as lilting. Older dictionaries, such as Dinneen, only give portaiḋeaċt, portaireaċt, or portonaċt. Puirt à beul are related to Irish lilting, Scottish diddling, New Brunswick chin music, and other “Celtic” forms of mouth music. However, whereas these latter forms of mouth music consist of improvised vocables, puirt à beul lyrics are fixed and almost always consist of “real” (i.e. lexical) words, although sometimes vocables are also present.

Pungmul

Mon, 01 Jan 0001 00:00:00 +0000

Classification#

Pungmul was first recognized as an Important Intangible Cultural Property in 1966 under the title nongak sipicha (, “twelve movements of farmers’ music”). The designation was changed to simply nongak in the 1980s in order to accommodate regional variations. The Cultural Heritage Administration currently recognizes five regional styles of the tradition, each named for its center of activity, under Important Intangible Cultural Property no. 11: Jinju Samcheonpo nongak, from South Gyeongsang province (designated in 1966); Pyeongtaek nongak, from Gyeonggi province (1985); Iri nongak, from North Jeolla province (1985); Gangneung nongak, from Gangwon province (1985); and Imsil Pilbong nongak from North Jeolla province (1988). Each style is unique in its approach toward rhythms, costuming, instrumentation, and performance philosophy: Jinju Samcheonpo for yeongnam (), Pyeongtaek for utdari (), Iri for honam udo (), Gangneung for yeongdong (), and Imsil Pilbong for honam jwado (). Most scholarly works on pungmul focus on the two distinct styles present in the Honam region encompassing the two Jeolla provinces. In this region, the designations jwado (left) for Imsil Pilbong and udo (right) for Iri are determined according to geomantic principles. Looking southward from the “center” (Seoul, the capital), udo indicates “right”, and jwado indicates “left”.

Pungmul as protest

Mon, 01 Jan 0001 00:00:00 +0000

Origin in the Minjung Movement#

Pungmul, along with other Korean folk arts such as talchum, madang guk, and minyo were important in the minjung movement. It involved a will of the university students and intellectual elites to become and embody the working class, which in the minjung movement was seen as the “ultimate revolutionary subject”. students used pungmul during street protests and demonstration, often shouting slogans such as “Revolution!” and “Down with the dictatorship!” along the beats while in violent altercations with police. Other than the sentiment of performing minjung ideology, pungmul was useful in protests due to its loud volume, as it was easily heard over a long distance and in the presence of large crowds and energized the group. Historically, pungmul was used by farmers to set a working rhythm and create a sense of community. This nature of the art, with basic beats easy to learn and the ability to be strapped onto the player for mobility, also made it accessible to protests.

Punk blues

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

Before the beginning of the punk movement of the late 1970s, several important forerunners such as the MC5, the Stooges, the Rolling Stones, the Who, the Sonics, Captain Beefheart, and the New York Dolls displayed a fascination with American blues. AllMusic states that punk blues draws on the influence of the “garage rock sound of the mid-’60s, the primal howl of early Captain Beefheart, and especially in the raw and desperate sound of the Gun Club’s landmark Fire of Love LP from 1981”.

Punk funk

Mon, 01 Jan 0001 00:00:00 +0000

History#

Punk funk emerged in the late 1970s, however, it was eclipsed in the 1980s by dance-punk, avant-funk, and funk metal later in the 1980s, all of which are also alternatively described as punk funk. Despite this, punk funk has been occasionally used in more recent years to describe bands such as CSS and their 2005 album Cansei de Ser Sexy.

1970s#

Ian Dury and the Blockheads, formed in 1977, have been described as punk funk. The earliest punk funk band is probably Talking Heads, having formed in 1975. Their track “Psycho Killer” opens with a funky bassline, and following this, they brought in Bernie Worrell from Funkadelic into their live band.

Punk in Brazil

Mon, 01 Jan 0001 00:00:00 +0000

Late 1970s#

The origins of punk rock in Brazil date back to the late 1970s. As in most other countries, the influence of the Sex Pistols, The Clash and The Ramones sparked the movement. Nonetheless, São Paulo was heavily influenced by lesser-known bands such as Speedtwins from the Netherlands, as well as by earlier protopunk artists such as The MC5, Iggy & The Stooges and The New York Dolls. Punk was initially adopted and fostered by musician Douglas Viscaino. With his band Restos de Nada which began playing in 1978, Viscaino promoted revolutionary ideas and brought young people together against the Brazilian military regime. The late 70s witnessed the fast-growing interest of punk nationwide: pioneer bands AI-5 and N.A.I. (later known as Condutores de Cadáver) sprouted in São Paulo, Carne Podre in Curitiba and Aborto Elétrico in Brasília. Before Brazil’s contemporary punk groups came along, two relatively famous glam/hard rock bands, Joelho de Porco and Made in Brazil, helped promote elements of the punk aesthetic around 1977. Both bands were important to the early days of Brazilian punk, offering a new alternative to the MPB and progressive rock artists that dominated the country’s music scene at the time. Joelho de Porco, whose lyrics bore a strong influence from São Paulo’s urban environment, became highly influential.

Punk in Sweden

Mon, 01 Jan 0001 00:00:00 +0000

History#

The most famous Swedish punk band was Ebba Grön, followed by KSMB; other notable bands were Asta Kask, Kriminella Gitarrer, Tant Strul, Pink champagne, The Pain and Göteborg Sound. In the 1980s hardcore punk, kängpunk and raw punk became popular in Sweden. The two most influential bands are Mob 47 and Anti Cimex, whose music has also inspired many foreign bands. Early punks in Sweden clashed with the youth movement Raggarna, which was working class and centered around cars, drinking, and rockabilly music. These conflicts were described in lyrics, for example by the Rude Kids and P-Nissarna. In the beginning, there were several venues and cultural meeting points associated with the Swedish punk subculture. One of the first of these was the Oasen in Rågsved, followed by Ultrahuset in Haninge, and Vita huset in Täby. Venues where a lot of punk is played today include the Kafé 44 on Södermalm in Stockholm, and Verket in Umeå. Punk in Sweden also connected with the hardcore scene that emerged in Umeå and other northern cities in the 1990s, with bands such as Refused (Umeå) and Raised Fist (Luleå) in the lead. Refused had a strong base in the genre’s traditional roots and may in part represent how it sounded then, but experimented and stretched the limits sufficiently to their most famous songs rather have come under the term post-hardcore. In the 1990s, the punk scene also turned more towards crust punk with bands like Driller Killer, Skitsystem, Wolfbrigade, and Disfear. In the 2000s many of the first and second wave Swedish punk bands such as Asta Kask, Dia Psalma, Mob 47, Moderat Likvidation and De lyckliga kompisarna reunited. They released new albums, with new songs. This decade many hardcore punk bands from Umeå and northern Sweden started to play more pop-influenced punk and the early Swedish punk like Ebba Grön and KSMB, for example Invasionen with Dennis Lyxzén from Refused and Knugen Faller with Inge Johansson from Totalt jävla mörker.

Punk jazz

Mon, 01 Jan 0001 00:00:00 +0000

1970s–1980s#

The first band to approach the genre were The Stooges, more specifically on three songs from their second album, Fun House: “1970”, “Fun House”, and “L.A. Blues”. Those songs featured saxophone played by Steve Mackay, and were released in 1970, several years before the genre expanded. Late 1970s New York no wave bands broke with blues rock-influenced punk in a style that instead combined elements such as free jazz noise, experimental drone rock, and other avant-garde influences. Examples of this style include Lydia Lunch’s album Queen of Siam, the work of James Chance and the Contortions, who mixed funk with free jazz and punk rock. In London, the Pop Group began to mix free jazz, along with dub reggae, into their brand of punk rock. The Birthday Party’s sound on Junkyard (1982) was described by one journalist as a mix of “no-wave guitar, free-jazz craziness, and punk-processed Captain Beefheart angularity”. The Lounge Lizards was the first group to call themselves punk jazz. Bill Laswell and his band Material mixed funk, jazz, and punk while his band Massacre added improvisation to rock. James Blood Ulmer applied Coleman’s harmolodic style to guitar and sought out links to no wave. Bad Brains, widely acknowledged to have established the rudiments of the hardcore style, began by attempting jazz fusion. Guitarist Joe Baiza executed his blend of punk and free jazz with Saccharine Trust and in Universal Congress Of, a group influenced by the work of Albert Ayler. Henry Rollins has praised free jazz, releasing albums by Matthew Shipp on his record label and collaborating with Charles Gayle. The Minutemen were influenced by jazz, folk and funk. Mike Watt of the band has spoken about being inspired by listening to John Coltrane. Dutch anarcho-punk group the Ex incorporated elements of free jazz and particularly European free improvisation, collaborating with Han Bennink and other members of the Instant Composers Pool.

Punk pathetique

Mon, 01 Jan 0001 00:00:00 +0000

Origin#

The name of the genre was coined by Sounds journalist Garry Bushell, who actively championed many of its exponents. Punk pathetique was initially an attempt to characterize a group of London bands that embodied Cockney culture with a Dickensian working class attitude. Musically, it was related to (and had crossover with) the Oi! subgenre. The cover of the 1980 Bushell/Sounds compilation album Oi! The Album described the record as featuring “ruck ’n’ rollers and punk pathetiques”. In contrast to harder-edged Oi! bands with more serious lyrics, punk pathetique bands focused on the naughty, silly and trivial. Max Splodge of Splodgenessabounds said: “The pathetique bands are the other side of Oi! We’re working class too, only whereas some bands sing about prison and the dole, we sing about pilchards and bums. The audience is the same”. Half Man Half Biscuit, the Shapes, the Gonads, the Adicts, Notsensibles, Auntie Pus, the Postmen, Desert Island Joe, the Hoopers, Pierre the Poet (Garry Butterfield), Paul Devine, Lord Waistrel & the Cosh Boys, Stephen Louis Knoche Jr & His Raging Cronies, the Alaska Cowboys, Patronage, Percy Throwers Man Eating Plans, SexyCows, the Orgasm Guerrillas, the Implications, and Doughnut & the Donor. Later, the mantle was inherited by the Bus Station Loonies, Monkish and Macc Lads, who performed comic punk singalongs in very much the same style. Toy Dolls, Peter and the Test Tube Babies, the Gonads, Splodgenessabounds and Auntie Pus & The Men From Uncle continue to tour and record.

Punk rap

Mon, 01 Jan 0001 00:00:00 +0000

Vocals and structure#

Some artists makes use of sonic elements of punk rock, such as screaming, whereas others make use of its attitude and melodic style. Lil Jon’s harsh style of vocalization has also been cited as influence on the development of the genre. In a way, hardcore punk was a “radical departure” from alternative and popular music of that era; this was because it was played “louder and harder,” “wasn’t verse-chorus rock,” and “dispelled any notion of what songwriting is supposed to be and it’s its own form” punk rap songs share some of the “unorthodox” characteristics. They are “short, repetitive, wrapped in distortion and grimly effective.” One of the earliest proponents of the scene was Odd Future, due to their merging of hip-hop and shock humor. In an article for the BBC, journalist Thomas Hobbs referred to the rise of the genre as being a rebellion against the politics of the period, with artists showing disdain for topics such as Brexit, the presidency of Donald Trump and global warming.

Punk rock

Mon, 01 Jan 0001 00:00:00 +0000

Outlook#

The first wave of punk rock was “aggressively modern” and differed from what came before. According to Ramones drummer Tommy Ramone, “In its initial form, a lot of 1960s stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no nonsense rock ’n’ roll.” John Holmstrom, founding editor of Punk magazine, recalls feeling “punk rock had to come along because the rock scene had become so tame that acts like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music.” According to Robert Christgau, punk “scornfully rejected the political idealism and Californian flower-power silliness of hippie myth.” Technical accessibility and a do it yourself (DIY) spirit are prized in punk rock. UK pub rock from 1972 to 1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock also introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was “rock and roll by people who didn’t have very many skills as musicians but still felt the need to express themselves through music”. British punk rejected contemporary mainstream rock, the broader culture it represented, and their musical predecessors: “No Elvis, Beatles or the Rolling Stones in 1977”, declared the Clash song “1977”. 1976, when the punk revolution began in Britain, became a musical and a cultural “Year Zero”. As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols’ slogan “No Future”; While “self-imposed alienation” was common among “drunk punks” and “gutter punks”, there was always a tension between their nihilistic outlook and the “radical leftist utopianism” of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer’s outlook, “Punk rock is meant to be our freedom. We’re meant to be able to do what we want to do.” Authenticity has always been important in the punk subculture—the pejorative term “poseur” is applied to those who adopt its stylistic attributes but do not actually share or understand its underlying values and philosophy. Scholar Daniel S. Traber argues that “attaining authenticity in the punk identity can be difficult”; as the punk scene matured, he observes, eventually “everyone got called a poseur”.

Punk rock in Australia

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1973–1976#

The Saints, formed in Brisbane, Queensland, in 1973, were one of Australia’s first punk bands. The earliest incarnation of the Saints was formed by Ed Kuepper (guitar) and Chris Bailey (vocals). They shared a background in immigrant families (Kuepper’s German and Bailey’s Irish), and an admiration for high energy 1950s and 1960s music, such as the Detroit rock of the Stooges and MC5. During that time, Queensland was under the control of the conservative, allegedly authoritarian Country Party democratic government of Sir Joh Bjelke-Petersen. In mid-1976, the Saints recorded and distributed copies of their single “(I’m) Stranded”, which met nearly no critical or public response in Australia. In the UK, however, Sounds magazine received a copy, and declared it: “single of this and every week”. As a result, the band was signed to a three-album contract with EMI. Later the same year they recorded their first LP, which was also called (I’m) Stranded. Hampered by poor production and the indifference of radio stations, the LP failed commercially. In December the Saints moved to Sydney. During 1974, Radio Birdman formed in Sydney, led by another immigrant, Detroit-born medical student Deniz Tek. They also shared an interest in the Stooges and MC5, albeit with a result arguably more akin to hard rock than punk. Their dynamic live shows soon gained a fanatical following at inner city venues. Radio Birdman released an EP (Burn My Eye) and an album (Radios Appear) with better production values, but with similar commercial results to the Saints’ endeavours. In Adelaide, the first punk band was Black Chrome, which formed in 1975, followed by JAB in 1976. Black Chrome’s music attacked Australian apathy, its urban wasteland and its non-existent youth culture. JAB billed themselves as “Synthetic Shock Rock” and were the first Australian punk band to use live synthesisers and tape loop guitar and synthesiser solos. Adelaide in this period was a staid, conservative, and unreceptive city, and consequently the bands were ignored, feared, and could not secure gigs unless they booked venues themselves without disclosing that they were punk bands. Black Chrome’s Simon Stretton, who also founded the record label Tomorrow Records, recorded many early punk bands, including JAB, the Chosen Few, Bohdan X, the Accountants, the U-Bombs, the Dagoes, Psychosurgeons, the Lipstick Killers, Riff Raff, and Young Modern, as well as later punk. In some cases, they are the only audio record of the band. Riff Raff played at the Seacliff Hotel, while Irving and the U-Bombs were mixing reggae with punk at the Belair Hotel. The Dagoes were later described by Donald Robertson of Roadrunner as “a mutant brainchild of various import record store owners”. The Accountants learnt to play in the northern suburb of Elizabeth. In Perth – a geographically isolated city with social and political similarities to Brisbane – young musicians like Kim Salmon, Dave Faulkner and James Baker were also influenced by the Detroit bands, as well as New York proto-punk figures like Lou Reed and the New York Dolls. Salmon led the Cheap Nasties, and then the Scientists, before embarking on a solo career (and is regarded as a pioneer of grunge). Baker was in a short-lived act called the Geeks, before forming the Victims with Faulkner in 1977. They recorded an acclaimed single, “Television Addict”, before breaking up. Baker later joined the Scientists. Faulkner gravitated towards poppier sounds. In 1981, he and Baker founded a successful retro rock act, the Hoodoo Gurus.

Punk rock in California

Mon, 01 Jan 0001 00:00:00 +0000

Pre-1976#

Los Angeles had a very strong glam rock scene in the early 1970s, mostly centered on the club Rodney Bingenheimer’s English Disco, run by Rodney Bingenheimer, who later, as a disc jockey for KROQ’s Rodney on the ROQ radio show, did much to promote LA punk bands. Many figures from this earlier scene would play notable roles in the later punk scene. In the mid-1970s from 1974 to 1975 a wave of proto-punk bands emerged from Los Angeles, including the Flyboys and Atomic Kid. The Runaways, an all-female teenaged band featuring Joan Jett, Sandy West, and Micki Steele, formed in Los Angeles in 1975 under the management of Kim Fowley. The band combined elements of glam rock, hard rock, and proto-punk rock. The group would become one of the first punk or punk-adjacent bands anywhere to release recordings, with their self-titled debut LP and its single “Cherry Bomb” released the following year.

Punk rock in Spain

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Hardcore Punk#

In Spain, among the best known hardcore groups are HHH, Subterranean Kids, TDeK, GRB, 24 Ideas and X-Milk among others, which are characterized by also having parts of fast punk, which demonstrate the link between punk and hardcore. . Other groups to highlight would be El Corazón del Sapo, Nevergood, Nuevenoventaicinco, groups from the Aragonese scene. However, other groups, less known to the general public, but no less important, such as MG-15 and Último Gobierno, which played d-beat, forerunners of this genre in the State, must be named; or the wave of Catalan hardcore groups from the 1980s, such as Anti / Dogmatikss, GRB, L’Odi Social, Subterranean Kids, HHH, Rouse and, already in the 1990s, Corn Flakes, Innocents, Tropel Nat, 24 Ideas, X-Milk, Sowplot. In the Basque Country there were also classic groups related to this genre such as BAP !! (Anti Polizialak Brigade), Eskoria-tza, Soziety Alkoholika or Noise of Rage, influenced by metal. Also noteworthy at the beginning of the most hardcore metal scene with groups like Prap’s. Although it would be necessary to add bands that changed the scene a lot at different times, such as 24 Ideas, a Barcelona band that introduced New York Hardcore with a straight edge influence in the State; Alarma Social, a group from Burgos, one of the first to go out, Shorebreak with the signing in Good Life, seemed to open up the state scene to Europe, something that has hardly been seen since; and it would also be necessary to highlight all the number and enormous number of bands from within punk, hardcore, crust, etc. They are the ones that have achieved the most the state scene is present outside this country, bands like Answer, Ictus, Machetazo, Looking For an Answer, ZInc, Ekkaia, Disface, Disflesh, Defeat Proud’z, Insomnia, Über, Horrör, Antiplayax, Black Panda, Alert! and a very long etc.

Punk rock in Yugoslavia

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History#

The punk scene emerged in the late 1970s, influenced by the first wave of punk rock bands from the United Kingdom and the United States, such as the Sex Pistols, The Clash and the Ramones. The DIY punkzine scene also began to develop. The Yugoslav punk rock bands were the first ones formed in a communist country. Punk rock spread across Yugoslavia in northwest–southeast direction, finding its earliest supporters in: Ljubljana, Rijeka, Zagreb, Novi Sad and other cities. The first punk rock bands in the country were Pankrti from Ljubljana and Paraf from Rijeka, both formed around 1977. Other notable acts were: Buldogi, Berlinski Zid, Grupa 92, Problemi, Termiti and others. Among this generation of bands was the early Prljavo kazalište, but they became a mainstream rock act later. These artists were featured on the compilation album “Novi Punk Val 78-80”, compiled by Igor Vidmar. Meanwhile, in Novi Sad, the notable band Pekinška patka emerged. The late-1970s and early 1980s bands from Belgrade included: Defektno Efektni, Urbana Gerila and Radnička Kontrola. Notable members of these bands were: Cane, who later came to prominence as a vocalist of Partibrejkers; Srđan Todorović, later a movie actor; and Vladimir Arsenijević, later a notable punk writer. This generation of bands was included on the Artistička Radna Akcija compilation. Električni orgazam was also a punk rock band during its early period, but it became a mainstream rock act later. During this period, the punkabilly artist Toni Montano emerged, first as a vocalist of the band Radost Evrope, but later became a solo artist. Also, the punk writer Ivan Glišić from Šabac emerged in this period. The first punk band in Skopje, is considered to be Fol jazik, formed in 1978. Other notable acts from Skopje included Badmingtons and Saraceni, both led by Vladimir Petrovski Karter. The bass player of Saraceni, Goran Trajkoski, previously played with Klime Kovaceski in the punk band Afektiven naboj from Struga. Later they went into post punk and gothic rock and together formed the bands Padot na Vizantija and Anastasia. In Sarajevo, the following acts emerged: Ozbiljno pitanje (which later evolved into the mainstream act Crvena Jabuka), Ševa (later Bombaj Štampa led by the internationally acclaimed actor Branko Đurić), and the cult band Zabranjeno pušenje. These bands formed the punk-inspired New Primitives movement. In the late 1970s, some punk bands were affiliated with the Yugoslav new wave scene, and were labeled as both punk rock and new wave. During a certain period, the term new wave music was interchangeable with punk. One of the most important compilations of the Yugoslav new wave era is Paket Aranžman. The 1980s saw the emergence of streetpunk and Oi!, followed later by: hardcore punk and other subgenres. Notable hardcore punk acts during the 1980s included: Niet, U.B.R., Ćao pičke, Odpadki civilizacije, Tožibabe, III Kategorija, Stres DA, Epidemija and Quod Massacre (all from Ljubljana); S.O.R. (from Idrija); C.Z.D. (Maribor); Blitzkrieg, Z.R.M., Patareni and Sköl (Zagreb); KUD Idijoti, Gola jaja, Besposličari and Pasmaters (all from Pula); Rukopotezno povlačilo (Slavonska Požega); The Dissidents (Prijedor) and Ženevski Dekret (Mostar); Solunski front, Distress, Necrophilia, Crist and Mrgudi (all from Belgrade); KBO! (Kragujevac); Nade iz Inkubatora, Giuseppe Carabino, Marselyeza and Process (all from Subotica); Incest (Novi Bečej); Napred U Prošlost (Banatsko Novo Selo); and the Oi! or streetpunk bands Dva minuta mržnje and Vrisak generacije (both from Novi Sad). A notable pop punk band during the 1980s was Psihomodo pop from Zagreb, which was very much influenced by the Ramones. Many foreign punk bands played concerts in former Yugoslavia in the late 1970s and throughout the 1980s: The Ruts, Siouxsie and the Banshees, UK Subs, Angelic Upstarts, The Exploited, Charged GBH, The Anti-Nowhere League, Discharge, Youth Brigade and Amebix. In 1983 The Anti-Nowhere League released their album Live in Yugoslavia, while Angelic Upstarts released a live album of the same title in 1985.

Punk rock subgenres

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Afro-punk#

Afro-punk (sometimes spelled AfroPunk) refers to the participation of African Americans in the punk and alternative music cultures. Afro-punks represent a majority in the punk culture in predominantly black regions of the world that have burgeoning punk communities, such as in parts of Africa. There are many punk rock bands with black members, and several with lineups that are all black.

Anarcho punk#

Anarcho-punk is punk rock that promotes anarchism. The term anarcho-punk is sometimes applied exclusively to bands that were part of the 1970s/1980s anarcho-punk movement in the United Kingdom. Some, however, use the term to refer to any punk music with anarchist lyrical content.

Punta

Mon, 01 Jan 0001 00:00:00 +0000

Origins and historical context#

In their culture, the people refer to themselves as both Garinagu and Garifuna, with Garifuna mainly pertaining to their culture, music, and dance rather than using it to identify their people. There are a variety of possible origins of the puntas intended meaning for the Garifuna dance and music it represents. The word punta is a Latinization of an ancient West African rhythm called bunda, or “buttocks” in the Mandé language. They begin facing each other and the figure varies with the ingenuity of the dancers, but always represents the evolution of a courtship in which first the man pursues, and then the woman, while the other retreats; and ends only when one of them, from exhaustion or from lack of further initiative, admits defeat by retiring from the ring, to have his or her place immediately taken by another. More commonly were the religious or ancestral rituals, as those seen on the ninth-night wakes by anthropologist Nancie Gonzales during her fieldwork in Central America. If a death occurred at night, then the wake would begin early the next morning and continue all day, ending with a burial in the late afternoon. However, if the death were during the day, an all-night wake would ensue with people coming and going throughout, with prayers and drinking being a familiar sight.

Punta rock

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

Punta rock is a subgenre of punta largely credited to Pen Cayetano, Andy Palacio, and Fuerza Garifuna. Beginning in the 1970s, these artists sought to create a modernized version of the traditional punta to appeal to younger audiences. Punta is a style of traditional music and dance that developed among the Garifuna people of Saint Vincent, Honduras, Belize, Guatemala, and Nicaragua. Punta rock thus filled the gap and revitalized a waning musical style, becoming popular in several Central American countries. The two countries where punta rock is most prevalent are Belize and Honduras. Dangriga, the Belizean birthplace of the music genre, is the first Garifuna settlement in the nation. Its position as a town that sits between a traditional village life and an urban setting is reflective of the amalgamation of traditional and popular music styles in punta rock.

Punto guajiro

Mon, 01 Jan 0001 00:00:00 +0000

Description#

Punto is played by a group with various types of guitar: the Spanish guitar, the Cuban tres, the laúd and the tiple. The punto refers to the use of a pick (punteando), rather than strumming (rasgueado). There are three percussion instruments: the clave, the güiro and the guayo (also a scraper, but of metal). Singers form themselves into teams, and improvise their lines. They sing, or chant, an unvarying melody, with intervals between stanzas to give the singers time to prepare the next verse. Early compositions were sometimes recorded in print, as were the names of some of the singer/composers. Beginning around 1935, punto reached a peak of popularity on Cuban radio. Nothing was done to record their work, but as it happens, a stenographer, Aida Bode, was a fan of this genre, and she wrote down the verses as they were broadcast. Finally, in 1997, her transcriptions were published in book form. Celina González and Albita both sang punto in the first part of their careers, proving that the genre is still alive, though perhaps moribund in its original form. Celina has one of the great voices in popular music, and her supporting group Campo Alegre is outstanding. For aficionados, however, Indio Naborí (Sabio Jesús Orta Ruiz, b. 30 September 1922) is the greatest name in punto, for his decima poetry, which he wrote daily for the radio and newspapers. He is also a published author, with several collections of his poetry, much of which has a political nueva trova edge.

Punto music

Mon, 01 Jan 0001 00:00:00 +0000

Choreography#

Traditionally, one male and one female participant perform the dance. The dance begins with the male kneeling with his left knee on the floor. Once the music begins to play, he takes the hands of the female dancer, who circles around him to the beat of the music. The male and female back away from each other, often emoting longing and passion. The male then initiates the dance with the following steps, repeating in order two or three times: # El Paseo () – The male and the female walk around in a wide circle. # El Zapateo – Face to face, the dancers show off their skill and dexterity during a change of music. # El Escobillao – The couple separate widely, often with a short backward-running movement. # El Seguidilla – The couple move closer and rotate with finesse in the center of the circle until a musical change indicates a return to the paseo.