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This nOde last updated July 12th, 2004 and is permanently morphing...
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punk (pùngk) noun
1.Slang. a. A young person, especially a member of a rebellious counterculture group. b. An inexperienced young man.
2.Music. a. Punk rock. b. A punk rocker.
3.a. Slang. A young man who is the sexual partner of an older man. b. Archaic. A prostitute.
4.Dry, decayed wood, used as tinder.
5.Any of various substances that smolder when ignited, used to light fireworks.
6.Chinese internal linkincense.

1.Of or relating to a style of dress worn by punk rockers and often characterized by unusual clothing, internal linkhairstyles, and makeup.
2.Of poor quality; worthless.
3.Weak in spirits or health.

[Origin unknown.]
- punk´er noun

punk rock

punk rock (pùngk ròk) noun
A form of hard-driving rock music characterized by harsh lyrics attacking conventional society and popular culture and often expressing internal linkalienation and anger.

punk (noun)

male: internal linkyouth, lad, tyke, teen, punk, stripling, young man, boy, youngster


Punks in their silly leather jackets are a cliché. I have never liked the term and have never discussed it. I just got on with it and got out of it when it became a competition.
John Lydon [internal linkJohnny Rotten] (b. 1957), British rock musician. _Observer_ (London, 4 May 1986).

punk (adjective)

bad: no good, worthless, shoddy, tacky, crummy, ropy, punk, pathetic, useless
vicious: punk, worthless, unworthy, meritless, graceless, disapproved


Punk to me was a form of free speech. It was a internal linkmoment when suddenly all kinds of strange voices that no reasonable person could ever have expected to hear in public were being heard all over the place.
Greil Marcus (b. 1945), U.S. rock journalist. Discourses: Conversations in Postmodern Art and Culture, "Punk and History" (ed. by Russell, Ferguson et. al., 1990). The essay is the transcript of a discussion, 24 Sept. 1988, New York.


At its best New Wave/punk represents a fundamental and age-old internal linkUtopian dream: that if you give people the license to be as outrageous as they want in absolutely any fashion they can internal linkdream up, they'll be creative about it, and do something good besides.
Lester Bangs (1948-82), U.S. rock journalist. New Musical Express (London, 24 Dec. 1977).


Stealing things is a glorious occupation, particularly in the artworld.
Malcolm McLaren (b. 1946), British rock impresario. "Punk and History," transcript of discussion, 24 Sept. 1988, New York City (published in Discourses: Conversations in Postmodern Art and Culture, ed. by Russell Ferguson et. al., 1990).

Rock 'n' Roll

Rock & roll doesn't necessarily mean a band. It doesn't mean a singer, and it doesn't mean a lyric, really. . . . It's that question of trying to be internal linkimmortal.
Malcolm McLaren (b. 1946), British rock impresario. "Punk and History," transcript of discussion, 24 Sept. 1988, New York City (published in Discourses: Conversations in Postmodern Art and Culture, ed. by Russell Ferguson, et al., 1990).

internal linkcyberpunk

cyberpunk (sì'ber-punk`) noun
1. A genre of near-future internal linkscience fiction in which conflict and action take place in internal linkvirtual reality environments maintained on global computer internal linknetworks in a worldwide culture of dystopian internal linkalienation. The prototypical cyberpunk novel is internal linkWilliam Gibson'sinternal link_Neuromancer_ (1982).
2. A category of popular culture that resembles the ethos of cyberpunk fiction.
3. A person or fictional character who resembles the heroes of cyberpunk fiction.

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after being obsessed with it over 10 years, i realized what attracted me to punk the most was the energy.  it was definitely a backlash within a certain context of internal linktime and region, and spread internal linkmemetically and systematically through the whole world.  it mutated often and it is probably now indefinable.  what mattered the most was the the idea of bombastic, stripped down energy and fun.  usually in a negative direction.  when i found the concept of TAZ and the transcendental inclinations of "the party" or "the gathering" within a sociological context, the notion of punk made more sense.  the most potent space/time coordinates for punk were 76-78 u.k., 80-82 u.s. internal linkhardcore.. then the thousands of variants that proliferated until the internal linkNirvana explosion.   the reason for this was to initiate the idea of DIY and the empowerment of the individual within the internal linkentertainment "industry". internal linkresonanceinternal linkfeedback and iteration will occur more slowly in the realm of film and video, because usually it starts with music and moves on from there.  why?  well, music can be made by modular units - a group of friends, or even individuals.  the production revolution followed the band revolution which followed the zine revolution... it's all a breakdown of empowerment to modular and self sustaining levels.  whereas before, you depended on a huge entity to get your memes across, now it is going peer to peer.  punk was a catalyst for that.  things no longer needed to be "professional".  it became more spontaneous and individualized.

to me, it was a natural course to follow punk with that of the musical internal linkTAZ.  punk was still within the structure of the industry, very urban, then suburban, and always decaying.  when rave hit my psyche, i internal linkfocused the energy of punk into that of movement and communication.  the party scene involved and embraced technology.  now punk seems archaic, with blunt instruments and a very predictable format.    the party scene was still too urban for me, so i emigrated over to the secret outdoor gatherings.  it made perfect sense there.  punk energy, constructive and positive, with no political drives but only a internal linkstrange attractor of nonsensical and highly meaningful experiences.

so punk served its purpose, and was very necessary.  there seems to be a pattern within scenes of any kind - music, art, industry, school, workplace, etc.  the initial spark of internal linkchaos and fun and indefinability gives way to snobbish pretension and ego infested jockeying for cool.  rules get set up and things start becoming "this or that".   the only way to re-internal linkdissolve boundaries is to opt out in a timely manner and find something new. don't stick around to argue.  if you do, you end up clinging onto "the good old days".  this is waste of time, when something fresh and new is happening NOW.   the trick is to keep the new thing a secret for as long as possible.  hype kills.  we don't need to internal linkrush towards oblivion, let it come gradually so we can have time to acclimate and create new scenes.  there is no need for the whole world to know immediately, this great thing.  selling millions of units and advertising and marketing should be left up to those that want to define it and make a parasitic living off of a good thing.  the smart ones dip into the internal linkmoment, and leave quietly and let the loudmouths argue over the rags and bones.   this is what i learned from the scene of my time.  it applies to the scene of now, and in whatever future energy attractors that may arise.  the "generation gap" is a myth.  we all have our push and our time, and the skill comes in recognizing what it is, and when to stop and to not let it become a habit and a sweet nostalgia. punk died in '77, and hardcore died in '81, and a hundred deaths for a hundred subgenres followed.  scenes follow the pattern of the universe, from the big bang on.  goa died in '96.  long live all those scenes - in all four internal linkdimensions of time and space that we can sense.  otherwise, it's rehashing nostalgia. - @Om* 8/29/01

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personal punk internal linkflowchart:

this is how i internal linkperceive the punk flowchart.  it is completely internal linksubjective and stream of consciousness....  it is based on information that combines personal exposure to records, shows, bands, people, the scene... - and also to those elements which i've only read about or seen in videos, etc...

start with sex pistols
 snotty, short, fast, distorted raw rock & roll - yes, the ramones came first, but they refined it and basically one person encapsulated it as a strange attractor - john lydon - no leather jackets or mohawks.  just smart street struggles and fun scaring people (they were really not that threatening or scary, but they made everyone feel that way because of their honesty.  sid "vicious" wasn't.  he was a fashion victim.)

prequel: ramones tour u.k. influences sex pistols - they established the sound, but they were still a "50's hair band" in content and attitude.
damned put out first punk 7" 1975 - their only notable achievement.
sex pistols influence the clash - the clash refined the political and social content, not to mention that they were the lennon/mccartney songwriters of punk.  simple raw rock & roll, balancing mick jones and his rock star fantasies with "every man" joe strummer's leftist sincerity.  they should have quit at decade's end.

'77 u.k. punk
 includes internal linkWire, x-ray spex, pistols, clash

'78 west coast u.s. punk
dils, bags, avengers

'79'- 81 black flag births DIY
 germs, gogos, dead kennedys (sf, alternative tentacles)

internal linkhardcore offshoots
 straight edge - internal linkMinor Threat (1981) spawns youth of today (1985)

internal linkRites Of Spring, moss icon (1984) post hardcore

riot grrl

crass - peace punk (1978)
 crucifix (1984)
 resist & exist

west coast power violence
 man is the bastard

pure hardcore - mdc (poli), dri (1982-1985), doa (canada). jerry's kids (boston)

crossover (dri, cryptic slaughter, accused) (1985-1987)
 blends metal crisp riffage, double bassdrum, higher production with punk spew

bay area powerpop
internal linkGreen Day, samiam, internal linkLookout!

skacore - operation ivy (nothing like it since)

techno punk - internal linkAtari Teenage Riot

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Mogwai - Come On Die Young on Matador (1999)
Peter Pooch Pyrtle of Discharge Medicine Drum - Supernature Discharge live

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political anarcho punk band internal linkFlux Of Pink Indians on Crass records (disbanded 1984)

bassist Derek Birkett and guitarist Tim Kelly form One Little Indians record label  in 1986 which have releases from:

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internal linkPink Floyd

The previous year, punk rock had appeared and the King's Road had become heartland. Without success, the Sex Pistols, their manager Malcolm McLaren and their art director internal linkJamie Reid tried to internal linkcontact Barrett, to ask him to produce their first album. The Damned hoped he would produce their second, realised it was impossible and settled for the Floyd's Nick Mason ('Who didn't have a clue', according to the band's bassist Captain Sensible).

- _You Shone Like The internal linkSun_ - article on Syd Barrett in _The Observer_ October 6th, 2002

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video (vhs/ntsc)atomjacked inventory cache - _Louder, Shorter, Faster - San Francisco live punk_

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