Tag Archives: 70’S

PUNK MUSIC 60’S AND UP

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BLONDIE COLLAGE BY ANA CHRISTY #BLONDIE#ANA_CHRISTY#COLLAGE#PUNK

 

 

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The Foundations of Punk Rock

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The beginnings of punk rock are often furiously debated. This is partially because everyone has different definition of punk rock, and partially because its foundation stones are found in several places.

MY FAVORITE GROUP IS THE VELVET UNDERGROUND

THE WHO GREATEST HITS (1964-2004)

https://youtu.be/Cwn1ArVHxnA

The Fugs – Second Album (Full Album)

https://youtu.be/flN2TFeCgdo

oye isabel The Iguanas

https://youtu.be/8Udh5x4sSXs?list=PLSppaHvgP-Ip2Lgz7_fAjghNIQhfRh4hN

The Troggs – Hit Single Anthology (Full Album)

https://youtu.be/4LDYVeFVMZg

The Sonics-1965 – Here Are The Sonics[Full Album]

https://youtu.be/yoY-VCxhWQ8

The Velvet Underground & Nico Full Album (Stereo) [HQ]

https://youtu.be/aVrTORySXjU

Small Faces – Ogdens´ Nut Gone Flake – Full record

https://youtu.be/qBOFm96rTsg

The Stooges – Fun House (Full Album)

https://youtu.be/JWcrDGvdgW0

Blondie – Rapture

https://youtu.be/pHCdS7O248g

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“Punk Rock” was originally used to describe the garage musicians of the ’60’s. Bands like the Sonics were starting up and playing out with no musical or vocal instruction, and often limited skill.

Because they didn’t know the rules of music, they were able to break the rules.

The mid to late ’60s saw the appearance of the Stooges and the MC5 in Detroit. They were raw, crude and often political. Their concerts were often violent affairs, and they were opening the eyes of the music world.

The Velvet Underground is the next piece in the puzzle. The Velvet Underground, managed by Andy Warhol, were producing music that often bordered on noise. They were expanding the definitions of music without even realizing it.

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The final primary influence is found in the foundations of Glam Rock. Artists like David Bowie and the New York Dolls were dressing outrageously, living extravagantly and producing loud trashy rock and roll.

Glam would end up splitting up its influence, doling out portions to hard rock, “hair metal” and punk rock.

New York: The First Punk Rock Scene

The first concrete punk rock scene appeared in the mid ’70s in New York. Bands like The Ramones, Wayne County, Johnny Thunders and the Heartbreakers, Blondie and the Talking Heads were playing regularly in the Bowery District, most notably at the legendary club CBGB.

The bands were unified by their location, camaraderie, and shared musical influences. They would all go on to develop their own styles and many would shift away from punk rock.

While the New York scene was reaching its heyday, punk was undergoing a separate creation story in London.

Meanwhile, Across the Pond

England’s punk scene had political and economic roots. The economy in the United Kingdom was in poor shape, and unemployment rates were at an all-time high. England’s youth were angry, rebellious and out of work. They had strong opinions and a lot of free time.
This is where the beginnings of punk fashion as we know it emerged, and they centered out of one shop.

The shop was simply called SEX, and it was owned by Malcolm McClaren.

Malcolm McClaren had recently returned to London from the U.S., where he had unsuccessfully tried to reinvent the New York Dolls to sell his clothing. He was determined to do it again, but this time looked to the youths who worked and hung out in his shop to be his next project. This project would become the Sex Pistols, and they would develop a large following very quickly.

Enter The Bromley Contingent

Among the fans of the Sex Pistols was an outrageous bunch of young punks known as the Bromley Contingent. Named after the neighborhood they all came from, they were at the first Sex Pistols shows, and quickly realized they could do it themselves.

Within a year, the Bromleys had formed a large portion of the London Punk scene, including The Clash, The Slits, Siouxsie & the Banshees, Generation X (fronted by a young Billy Idol) and X-Ray Spex. The British punk scene was now in full swing.

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The Punk Rock Explosion

By the late ’70s, punk had finished its beginning and had emerged as a solid musical force. With its rise in popularity, punk began to split into numerous sub-genres. New musicians embraced the DIY movement and began to create their own individual scenes with specific sounds.

In order to better see the evolution of punk, check out all of the subgenres that punk split off into. It’s a list that’s constantly evolving, and it’s only a matter of time before more categories appear.
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Bad Brains. ROIRRyan Cooper
Punk Music Expert
Updated July 03, 2014.
What is Hardcore?:

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Mount Lehman Grease Band 
Notorious Smorg Brothers
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Fast, loud and furious – these are the elements of hardcore. From its inception in the late ‘70s, hardcore began to pick up the attitudes and messages employed by the first punk bands, setting them to driving guitar and drum lines that were more frenzied than those played by earlier bands that fell under the punk description. Faster and heavier than other contemporary punk bands, hardcore songs were often very short and very frenzied.

The Early Days of Hardcore:

At the beginning, hardcore punk was primarily a phenomenon in the states. Hardcore punk’s rise to popularity in the late ’70s and early ’80s happened in multiple cities throughout the U.S. almost simultaneously. Musicians that had been raised on heavy metal but were being influenced by punk were taking these two influences, combining them, and speeding them up into something exciting and unheard of.

At the same time, on opposite coasts, three bands help usher in the era of hardcore. LA’s Black Flag and Washington DC’s Minor Threat and Bad Brains were the primary pioneers of the hardcore sound, which also ushered in the era of slamdancing at punk rock shows.

While it had been around for a while at punk rock shows, the intensity of hardcore music really brought it into prominence.

Hardcore Breaks Out:

With the birth of these early scenes came a DIY ethic that allowed hardcore scenes to pop up all over. The Midwest was especially dense; In Detroit, Negative iApproach ruled the roost, in Lansing, Michigan, the Meatmen started a scene, and Minneapolis-St. Paul spawned the amazingly complex Husker Du, who mixed jazz, psychedelia, acoustic folk and pop in with their hardcore riffs.

It was true everywhere, though. Nevada had 7Seconds. New Jesey had the Misfits. Gang Green was raging in Boston. And New York was putting hardcore shows on by the Beastie Boys, a hardcore band that would later be better known as a rap outfit.

Once the sound began, it was impossible to put a lid on it. Essentially, any city or town large enough to have a scene seemed to have a hardcore scene, with its own chunk of local hardcore bands and local hardcore followers. This continues to be the case, and while it was (and continues to be) primarily popular in the U.S., hardcore scenes are evident all over the world.

While hardcore records are obviously an essential part of hardcore music, and without them we’d have no recorded history of the music, hardcore music and its encompassing scene was and is really about the hardcore show, where all of the DIY ethic comes together. Even now, hardcore house and club shows happen everywhere, with bands getting together to play out of basements and garages, selling self-recorded music and handmade t-shirts, and advertised by self-produced fliers.

Hardcore In The Mainstream Media:

From the early days, hardcore shows were misunderstood as violent affairs by the mainstream media. TV talk shows grabbed onto these shows as violent affairs, and TV dramas depicted them as dark violent events. The most famous is arguably the punk episode of Quincy M.E., which has spawned its own pop references in the punk scene, including a song and band name.

THE WHO GREATEST HITS

https://youtu.be/Cwn1ArVHxnA

A Message?:

Hardcore music’s only unifying factor is its sound. The lyrics and messages vary from band to band. While some hardcore bands preach drug- and alcohol-free living (known as straightedge), other bands write songs that are all about partying. There are even Christian hardcore bands with a strong religious message.

What’s Next?:

Hardcore continues to be a subgenre of music with a strong following. While it paved the way for thrash metal and other heavy sounds, many of the early hardcore bands are still together and new bands rise up constantly. Along with the continuing tide of hardcore is a wave of bands known as post-hardcore bands, but that’s another story entirely.
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Review: If You Like The Ramones…
A solid cultural history revolving around one of punk’s most influential groups
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ifyoulikeramones.JPG – Backbeat Books
If You Like The Ramones… Backbeat Books

Ryan Cooper
Punk Music Expert When I was getting into punk rock, one of my first exposures to the sound was the Ramones. Short, fast repetitive tunes delivered with a deceptive simplicity, Ramones’ songs were stripped down and raw, delivered with a sublime sense of humor that paved the way for countless bands to follow.

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At the same time, a common enough form of recommendation came from friends in the form of “If you like the Ramones, then you should check out out,” followed by the name of another band that delivered more short, fast raw punk rock.

It was a fast fun way to broaden my musical horizons. Decades later, writer and Chrome Cranks frontman (who is also responsible for influencing countless contemporaries) Peter Aaron has released, If You Like The Ramones… Here Are Over 200 Bands, CDs, Films and Other Oddities You’ll Love.

I was with eager anticipation that I tore into this book, expecting a collection of punk records I was already quite familiar with, anticipating a trip down memory lane along with the possibility of learning about other bands that I had missed.

And I was wrong. That’s not what this book is about at all. Or rather, that’s just a small part of what it’s about.

What Aaron has compiled is something much more ambitious and exciting, a book that serves as a resource on musical history that starts with a single influential band and uses it as a springboard for what came before, after, and at the same times.

Aaron recognizes that the Ramones weren’t born from a musical void, and that while they were pioneers of their specific sound, they were influenced in no small part by a wide range of bands.

He begins with the early roots of rock and roll, recognizing greats that don’t immediately leap to mind when thinking of the Ramones, like Bo Diddly and Buddy Holly, calling out their influence on rock in general, and the Ramones in particular. I was especially pleased to see his recognition of Eddie Cochran, a British rockabilly great with a tragically short career that I feel is all too often ignored for his influence on punk rock.

He calls out the more prominent influences on the Ramones as well – the girl groups and surf musicians that had a prominent effect on the band’s sounds, along with the British Invasion bands (and he’s not shy about recognizing the contributions of big names like The Beatles, Rolling Stones and The Who on the band) along with the American garage rockers (from prominent names like the Sonics to obscure bands like the Monks) who added one element to the group’s sound.

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By the time he calls out the band’s hard rock and glam influences (and relates the tale of Dust, a proto-metal band that featured the drummer who would become Marky Ramone years later), not only has it been a pleasant trip through musical history, but the hidden complexity of the band’s sound has been laid bare. Ramones songs may sound simple, but their foundations are anything but.

It’s over 100 pages into the book before he even touches upon the music that I had expected to comprise the majority of the book. This is when he reaches the punk era, exploring all of the Ramones’ contemporaries both stateside and abroad, giving a concise snapshot of the scene as it existed.

A good amount of attention is given to the fact that the Ramones weren’t solely influenced by music either, with a chapter devoted to their pop culture roots, calling out the classic cartoons that influenced the band, as well as relative newcomers like Ren and Stimpy and South Park that were born of the era, along with the TV, films and comics that laid down the band’s pop culture upbringing.

The other part that I expected to make up the bulk of the book – a listing of bands influenced by the Ramones – is much smaller than anticipated, but still quite thorough. And the book is rounded out by a complete collection of the Ramones themselves on film (including bit appearances on shows like The Simpsons and Space Ghost Coast to Coast), the various side projects of the bands, and some highly recommended Ramones tributes.

For anyone just getting into punk rock, I always recommend the Ramones, preferably with their extensive box set Weird Tales of the Ramones (Compare Prices). Moving forward, I’ll recommend If You Like The Ramones… as a literary companion. It’s much more that just a musical primer for Ramones fans, it’s a complex music history using one of the greats as a jumping off point. Instead of just a trip down a musical memory lane, I’m finding out about a range of old-timers of all styles that I want to check out, and a desire to expand my own musical horizons much further. It’s an eye-opening and in-depth book that could have simply been OK had Aaron been less ambitious, but his legwork has elevated it from a “fun read” to a “must read.”

If You Like The Ramones… Here Are Over 200 Bands, CDs, Films and Other Oddities You’ll Love
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counterculture list of the 60’s and 70’s

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counterculture list of the 60’s and 70’s

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The Acid Eaters (1968)
Alice’s Restaurant (1969)
The Born Losers (1967)
Candy (1968)
Chappaqua (1966
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Easy Rider (1969)
Eggshells (1969)
The Fat Spy (1966)
The Guru (1969)
The Happening (1967)
Head (1968)
How to Commit Marriage (1969)
I Love You, Alice B. Toklas (1968)
The Love-Ins (1967)
The Love Bug (1968)
Maryjane (1968)
Medium Cool (1969)
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More (1969)
The Party (1968)
El Profesor Hippie (1969, Spanish)
Psych-Out (1968)
Riot on Sunset Strip (1967)
Skidoo (1968)
The Trip (1967)
Wild in the Streets (1968)
Wonderwall (1968)
Yellow Submarine (1968)
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1970s[edit]
200 Motels (1971)
An American Hippie in Israel aka Ha-Trempist (1972)
Beyond the Valley of the Dolls (1970)
Billy Jack: Billy Jack (1971)
The Trial of Billy Jack (1974)
Billy Jack Goes to Washington (1977)
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Brother Sun, Sister Moon (1972)
Butterflies Are Free (1972)
La Familia Hippie (1971, Spanish)
Fritz the Cat: Fritz the Cat (1972)
The Nine Lives of Fritz the Cat (1974)
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Gas-s-s-s (1971)
Ghetto Freaks aka Love Commune (1970)
Ginger in the Morning (1974)
Go Ask Alice (1973)
Godspell (1973)
Hair (1979)
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Hare Rama Hare Krishna (1971, Hindi)
Helter Skelter (1976)
La Vallée (film) (1972)
The Holy Mountain (1973)
I Drink Your Blood (1970)
Jesus Christ Superstar (1973)
Joe (1970)
Katherine (1975)
The Last Movie (1971)
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Love Story (1970)
More American Graffiti (1979)
The Psychedelic Priest a.k.a. Electric Shades of Grey (1971)
Rainbow Bridge (1972)
Shalom (1973, Hebrew)
The Song Remains the Same (1976) – features 1973 Led Zeppelin concert footage
The Strawberry Statement (1970)
Taking Off (1971)
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Thumb Tripping (1972)
Up in Smoke (1978)
When You Comin’ Back, Red Ryder? (1979)
Zabriskie Point (1970)
Zachariah (1971)
Zardoz (1973)
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WE OWE IT ALL TO THE HIPPIES

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WE OWE IT ALL TO THE HIPPIES

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HISTORY

WE OWE IT ALL TO THE HIPPIES

Forget antiwar protests, Woodstock, even long hair.
The real legacy of the sixties generation is the computer revolution

BY STEWART BRAND

Newcomers to the Internet are often startled to discover themselves not so much in some soulless colony of technocrats as in a kind of cultural Brigadoon – a flowering remnant of the ’60s, when hippie communalism and libertarian politics formed the roots of the modern cyberrevolution. At the time, it all seemed dangerously anarchic (and still does to many), but the counterculture’s scorn for centralized authority provided the philosophical foundations of not only the leaderless Internet but also the entire personal-computer revolution.

We – the generation of the ’60s – were inspired by the “bards and hot-gospellers of technology,” as business historian Peter Drucker described media maven Marshall McLuhan and technophile Buckminster Fuller. And we bought enthusiastically into the exotic technologies of the day, such as Fuller’s geodesic domes and psychoactive drugs like LSD. We learned from them, but ultimately they turned out to be blind alleys. Most of our generation scorned computers as the embodiment of centralized control. But a tiny contingent – later called “hackers” – embraced computers and set about transforming them into tools of liberation. That turned out to be the true royal road to the future.

“Ask not what your country can do for you. Do it yourself,” we said, happily perverting J.F.K.’s Inaugural exhortation. Our ethic of self-reliance came partly from science fiction. We all read Robert Heinlein’s epic Stranger in a Strange Land as well as his libertarian screed-novel, The Moon Is a Harsh Mistress. Hippies and nerds alike reveled in Heinlein’s contempt for centralized authority. To this day, computer scientists and technicians are almost universally science-fiction fans. And ever since the 1950s, for reasons that are unclear to me, science fiction has been almost universally libertarian in outlook.

As Steven Levy chronicled in his 1984 book, Hackers: Heroes of the Computer Revolution, there were three generations of youthful computer programmers who deliberately led the rest of civilization away from centralized mainframe computers and their predominant sponsor, IBM. “The Hacker Ethic,” articulated by Levy, offered a distinctly countercultural set of tenets. Among them:

“Access to computers should be unlimited and total.”

“All information should be free.”

“Mistrust authority – promote decentralization.”

“You can create art and beauty on a computer.”

“Computers can change your life for the better.”

Nobody had written these down in manifestoes before; it was just the way hackers behaved and talked while shaping the leading edge of computer technology.

In the 1960s and early ’70s, the first generation of hackers emerged in university computer-science departments. They transformed mainframes into virtual personal computers, using a technique called time sharing that provided widespread access to computers. Then in the late ’70s, the second generation invented and manufactured the personal computer. These nonacademic hackers were hard-core counterculture types – like Steve Jobs, a Beatle-haired hippie who had dropped out of Reed College, and Steve Wozniak, a Hewlett-Packard engineer. Before their success with Apple, both Steves developed and sold “blue boxes,” outlaw devices for making free telephone calls. Their contemporary and early collaborator, Lee Felsenstein, who designed the first portable computer, known as the Osborne 1, was a New Left radical who wrote for the renowned underground paper the Berkeley Barb.

As they followed the mantra “Turn on, tune in and drop out,” college students of the ’60s also dropped academia’s traditional disdain for business. “Do your own thing” easily translated into “Start your own business.” Reviled by the broader social establishment, hippies found ready acceptance in the world of small business. They brought an honesty and a dedication to service that was attractive to vendors and customers alike. Success in business made them disinclined to “grow out of” their countercultural values, and it made a number of them wealthy and powerful at a young age.

The third generation of revolutionaries, the software hackers of the early ’80s, created the application, education and entertainment programs for personal computers. Typical was Mitch Kapor, a former transcendental-meditation teacher, who gave us the spreadsheet program Lotus 1-2-3, which ensured the success of IBM’s Apple-imitating PC. Like most computer pioneers, Kapor is still active. His Electronic Frontier Foundation, which he co-founded with a lyricist for the Grateful Dead, lobbies successfully in Washington for civil rights in cyberspace.

In the years since Levy’s book, a fourth generation of revolutionaries has come to power. Still abiding by the Hacker Ethic, these tens of thousands of netheads have created myriad computer bulletin boards and a nonhierarchical linking system called Usenet. At the same time, they have transformed the Defense Department-sponsored ARPAnet into what has become the global digital epidemic known as the Internet. The average age of today’s Internet users, who number in the tens of millions, is about 30 years. Just as personal computers transformed the ’80s, this latest generation knows that the Net is going to transform the ’90s. With the same ethic that has guided previous generations, today’s users are leading the way with tools created initially as “freeware” or “shareware,” available to anyone who wants them.

Of course, not everyone on the electronic frontier identifies with the countercultural roots of the ’60s. One would hardly call Nicholas Negroponte, the patrician head of M.I.T.’s Media Lab, or Microsoft magnate Bill Gates “hippies.” Yet creative forces continue to emanate from that period. Virtual reality – computerized sensory immersion – was named, largely inspired and partly equipped by Jaron Lanier, who grew up under a geodesic dome in New Mexico, once played clarinet in the New York City subway and still sports dreadlocks halfway down his back. The latest generation of supercomputers, utilizing massive parallel processing, was invented, developed and manufactured by Danny Hillis, a genial longhair who set out to build “a machine that could be proud of us.” Public-key encryption, which can ensure unbreakable privacy for anyone, is the brainchild of Whitfield Diffie, a lifelong peacenik and privacy advocate who declared in a recent interview, “I have always believed the thesis that one’s politics and the character of one’s intellectual work are inseparable.”

Our generation proved in cyberspace that where self-reliance leads, resilience follows, and where generosity leads, prosperity follows. If that dynamic continues, and everything so far suggests that it will, then the information age will bear the distinctive mark of the countercultural ’60s well into the new millennium.

Copyright 1995 Time Inc. All rights reserved.