Punk rock is an interesting phenomenon in the history of rock music.

It is a real return to simplicity movement that bubbles in a kind of

underground scene, not, sort of way off the radar during the, first half of the

1970s, and then kind of explodes on the scene, first in the UK In 1977 with the

Sex Pistols and then in this country at the end of 77 into 19 78 with a whole

series of groups that we'll talk about here.

New Wave becomes the kind of adaptation of the punk attitude.

But the thing about punk music is that it is a real push back against these ideas

of professionalism and musical ambition and these kinds of things that are part

of the Hippy esthetics. So, when we return to talk about the

decade we'll, we'll link Punk in many ways with Disco as being a kind of

rejection of the Hippy esthetic and part of what really brings Sort of Hippy Rock

or Hippy Esthetic Rock that I've been talking about to a close, Punk plays an

important role in that. And while we talk about the Sex Pistols

as being the first important group to really sort of break through in the punk

style, the roots of punk really go back, to the, United States and really to the

late 1960's. As we talk about punk, we'll want to keep

an eye on the idea that punk is a music about confrontation.

It's a music about rejecting the status quo, not only culturally but also

musically, as I said, with regard to issues of professionalism and this.

So let's keep our eyes on that as we continue to talk About the scene in the

US and the UK. So we started with the US because that's

really where Punk gets its start; although, as a bit of an underground

scene first. here are some of the early influential

bands. And I know people, a lot of people who've

been watching these videos are wondering, why doesn't he say something about the

Velvet Underground? And we were talking about the late 60's,

why didn't we say anything about the Velvet Underground and the albums there

and all that? Well because in the period of

psychedelia, the Velvet Underground had some influence, but not nearly the

influence that a lot of the other groups we talked about during that period.

In fact one of the ways in which we gauge the importance of the Velvet Underground

is how much subsequent The influence they had on later kind of act.

So now is the time to really consider that music from the late nineteen

sixtees. What it really does is lead in a very

clear way, the New York punk scene that makes its way to the UK and back to this

country again. So here's where the velvet underground

story really fits in best I think. The velvet underground form by songwriter

Lou Reed, who'd been a kind of commercial song writer in New York in the 1960s, and

John Cale who had studied avant-garde music and was very well versed in

avant-garde aestetics and ideas of what was happening in the most cutting edge

classical music, formed this group together.

And called the Velvet Underground. Initially they're associated with the

artist Andy Warhol in the mid 1960s. You know you may know Andy Warhol's some

of his his art because it's kind of you, you find, you find it everywhere in our

culture. there's the Campbell soup cans painting,

there's the Marilyn Monroe painting. The idea of taking things that are

familiar from our culture. Things that we see all the same time.

And re-contextualizing them in interesting kinds of ways.

That's a lot of what Any Warhol was trying to do with his approach to pop

art. He would have these musical happenings.

Now this sounds very kind of psychedelic at least sixties kind of right?

These kinds of artistic happenings rather than you know tie dye and you know know

sort of hippy philosophy and that kind of thing.

These were more sort of esthetic uptown sort of cultural on the cusp of artistic

development kind of kind of events. And one of them was something called the

exploding Plastic Inevitable, which toured around a bit in 1966 and 1967, and

The Velvet Underground did music for those happenings that, that, sort of

multimedia kinds of events that, that Andy Warhol was behind.

part of this results in the album from 1967, the famous one with the banana on

it called The Velvet Underground and, and Nico I don't think Nico was the band's

idea, I think that was Andy Warhol's idea.

But nevertheless tracks like Heroin and Venus in Furs were very dark, they were

very realistic, they were very existential in certain kinds of way.

And didn't really resonate with the happy flower power kind of vibe of the day.

Although, when you compare what the Velvet Underground were have doing with

what the Doors was trying to do in LA, with sort of darker side of psychedelic,

I think you'll find a real kinship there, at least aesthetically, even if the music

really sound quite differently. You can see that they were trying to

explore the darker side of the drug world, some of the seedier.

maybe sort of off the radar, sub culture, kinds of elements of it.

Never the less, this music became in, became increasingly influential to

artists who would follow them. Other sort of early kind of punk bands.

Iggy Pop coming out of Detroit. his album the Stooges, their, his, his

band The Stooges, their, their big album, called Fun House, from 1970.

Iggy Pop was very influenced by Lou Reed. Although I don't know if it's the best

compliment in the world. Iggy Reed said you know I heard the

Velvet Underground and I thought that guy can't sing, I can't sing, I want to do

music. [LAUGH] You know.

I don't know what Lou Reed would have to say about that.

But nevertheless, Ig, Iggy Pop, at every opportunity You know I tell people about

the influence of the Velvet Underground and its music.

Anyway, Iggy Pop in Detroit, a crazy performer who would do all kinds of

thing, like smear his body with peanut butter, and walk out in the crowd and

have them hold him up with their hands. The live shows were a real happening,

that's for sure. Also in Detroit we've got The MC5 who in

1969, 69 released this album Kick Out the Jams with a lot of sort of raw aggressive

energy, sometimes mixed with profanity as in the famous Kick Out the Jams, and then

there's a word that follows that I probably shouldn't use here.

they were kind of managed by John Sinclair, but John Sinclair was so

dedicated to left wing causes that he refused to say that he Manage the group

because that seems too controlling. Nevertheless he got them very involved

and associate with left wing, politics to the extent that he even wrote a blurp on

album that was somewhat controversial. But anyway, the MC5 and Iggy Pop really

standing for raw aggressive approach to music that was very much against what we

see happening. With the, with the groups, that are, that

are popular at the time who are you know, driven by the hippie asthetic and ideas

of professionalism and polish, even when they're being, you know, gritty, they're

being polished about it. Here, when these guys, when they were

being gritty, they were being gritty. a group that kind of creates a connection

between the Velvet Underground and what happens in the New York Punk scene in the

1970s, is the New York Dolls, led by singer, David Johanssen.

Two albums, one from 1973, simply called the New York Dolls, and one from 1974

called, Too much, too soon. They are kind of glam Meets the Gritty

City. I mean these are guys that were some of

the first musicians to put on lipstick and wigs, and dresses, and do very, you

know, cowboy outfits. I mean they, they really sort of dressed

it up in ways that were designed really to kind of seem weird and shocking in

various kinds of ways. And but, so there was a kind of a kind of

a almost kind of a underworld, but I don't mean crime underworld, I mean sort

of sexual, drunken drug underworld kind of tone to a lot of what they were doing.

Never had very big success, but they where very important to a number of

artists who where also looking to the velvet underground, into Iggy Pop, and

the MC5, for inspiration. David Johansen, and, and, and the New

York Dolls are important In many ways, because not only for how they influenced

groups in the New York scene that we're going to talk about now, but when talk in

the next video about UK punk, the New York Dolls are going to play an important

role in that, but I'll save that for the next video.

So now we come to New York. And what we really think of as the roots

of the punk scene in New York. This is in many ways, a, a primarily

situated around a single club. The legendary CBGB, CBGB standing for

country, bluegrass and blues. There's another club named Max's Kansas

City which was also part of this, but CBGB is usually thought of as, as the big

club. When these groups started trying to do

what they wanted to do, what they were doing for, for punk music, the, the best

they at first, since they didn't expect that they would draw much of a crowd, is

to get a Sunday night at CBGB, which wasn't really a very affluent bar to

begin with. And Sunday nights, what's the bar owner

got to lose. I mean, there's not going to be anybody

in there, if they can bring a couple friends in to drink, the bands can play,

they're not going to get paid anything. So, some of those early punk events with

groups like Patty Smith and Television and the Ramones and Blondie and Talking

Heads all together were basically the bands the other bands and their

girlfriends or boyfriends or whatever, and a couple of friends.

And that's basically who was in the club. Not like a lot of, not unlike a lot of

Indie music clubs today, but that's really what was going on.

It was very much an underground singing. As the same time as Led Zeppelin, and

Yes, and Jethro Tull, and the Allman Brothers, and all these other groups are

having all this success on the charts. There's this small club in New York where

this is happening, and starting to come together.

So some of the groups we talk about, with regard to the New York scene.

Pattie Smith Group, featuring not only Patti Smith, more of a poet maybe, than a

singer, ultimately. But very Very much a poet teaming

together with Lenny K, music journalist who not only a guitar artist but also to

work with Patty Smith. and Lenny K also put together a

collection of garage band singles called Nuggets which was released on Electro

Record in the early 1970s and became kind of the way in which a lot of people came

to know garage band music. Again, garage band became a very big

influence on the punk scene during this time.

Anyway, the album from 1975 Horses had mild commercial success.

The song Gloria was heard on the radio a bit.

Another one of these CBGB groups Television Was formed by Richard Hell and

Tom Verlaine, they didn't record during the first half of the 70s when a lot of

this was coming together. their first big album Marquee Moon from

1977 never had the kind of commercial success that a lot of these other groups

had. Neither did the Ramones, for as

influential as the Ramones were they took on stage names, Joey, Johnny, Dee Dee,

and Tommy. Ramone, that first album from 1976 on

Sire Records, the Ramones had this song Blitzkreig Bop.

Now that gets played over and over again, people go around with Ramones t-shirts,

but it's important to understand that in the 1970s the Ramones, as outside of that

punk community, were largely unknown. They became known later but at this time

they were largely unknown. And when other groups like Patty Smith

and Blondie and Talking Heads, who would go on to have commercial, big commercial

success out of the CBGB, groups like Television and the Ramones did not so

much have that success but they were very much a part of forming the aesthetic.

Around New York punk, around CBGB. We've already mentioned Blondie, I'll

just say a word about that because we'll come back to that again when we talk

about New Wave. but fronted by Debra Harry, obviously

doing a kind of Marilyn Monroe kind of thing.

The way in which the New Wave artists took the past and sort of put it in

ironic quotation marks. We'll get to that, and Blondie is a very

big part of that. Anyway they had their big success in the

nineteen seventies, their fist big success in nineteen seventy eight with

the album parallel with the album Parallel Line.

But we'll get to that when we talk about new wave.

As we move from the New York scene now, we'll be moving away from a time.

Nobody really knew about it unless you went down to those clubs and saw what was

going on. We'll move over to the UK now, say just a

word about punk fashion, which is part of that subculture, included things like

ripped jeans leather jackets. The commonly used safety pin in all kinds

of different places on the clothes and on the body, and the sort of the trademark

hairstyle being the mohawk, sometimes dyed in outrageous colors.

There was a kind of DIY aesthetic, or do it yourself, a lot of these groups did

everything themselves. Their recording, their production,

everything was done essentially on a small scale, not for a corporate, not

very really even organized much out of their own area.

Alright, so that gets us through the New York scene.

Again, as I say, still pretty unknown. Now we're going to get to the UK scene

where we'll talk about the rise of the Sex Pistols.

And were it not for this New York scene that I'm talking about, the scene with

the Sex Pistols in the UK would never have happened, that's what we'll talk

about in the next video.

US Punk 1967-75

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