Explain Why Punk Rock Began In The 1970's

Why did Punk Rock begin in the 1970s?
The nineteen seventies was an era of experimental and reactionary creation (Larkin, 1997, p339). The mid seventies marked the coming of a new genre of music; Punk Rock. Disco was dead and a fresh form of rebellion was born with Punk Rock exploding onto the U.S and English music scenes with attitudes and aesthetics reminiscent of American 1950s Rock and Roll (Larkin, 1997, p339). “The utopian idealism of the sixties had been drained off, leaving a bitter residue of guilt, narcissism, and boredom- a vacuum that punk filled.” (Rombes, 2009, p29). This quote suggests that Punk Rock was more or less a political statement, which like most, was a product of the attitudes of the time; the excitement of the revolutionary nineteen sixties had fizzled and from the “boredom” emerged
something completely different. There are several reasons as to why the Punk movement began. Many theories suggest Punk to have been a raw political statement for the sake of change and rebellion (Laing, 1978, p1 para5) while others would argue that the whole scene was just scripted controversy for the sake of commercialism and moneymaking.
Comparatively, similarities can be drawn between the nineteen fifties Rock n Roll era and the Punk Rock phenomenon of the seventies.
Not only do they bare an aesthetic likeness, but also their following with both genres of music playing a key role in the uprising of a “Youth Culture” (Larkin, 1997, p339). As Bourdieu observed, “nothing more clearly affirms one’s class, nothing more infallibly classifies, than taste in music.” (Shuker, 1994, p16). Punk adhered to this, as it’s lyrics and cultural attitudes were based on youthful ideals such as rebellion, nihilism, obscenity, violence, sexuality and attitudes towards school (Shuker, 1994, p16 & p251). But why? Did the young people simple seek a commercial outlet to voice their opinions and anger or was it all out of boredom? Boredom is a recurring theme in many iconic Punk anthems (see “I’m Bored”- Iggy Pop, “I Just Wanna Have Something To Do”- The Ramones and “Boredom”- The Buzzcocks, to name a few). Boredom is another quality widely associated with teenagers in particular, and for nineteen seventies youths the post sixties lifestyle was all but thrilling but with the invention of
Punk the seventies brought more than a monotonous end to some of the greatest crises of the 20th Century. It filled the void, “with a sound so terrifying and disordered that you knew- from the first moment you heard it- that it couldn’t last.” (Rombes, 2009, pg28).
While from a cultural perspective Punk Rock can be viewed as a very real lifestyle for the misfit youths of the nineteen seventies, some, such as reporter Hana Gartner from a Canadian Broadcasting Corporation, suggest that the musicians started the genre purely for “money, fame, kicks and chicks”, that the Punk Rock phenomenon was all “a put on” (Rombes, 2009, pp206-207). While the youths may have been adopting the dishevelled aesthetic and “up yours” attitude of their Punk Rock music icons, were the musicians who were responsible for the blow up of this entire subculture only focussed on becoming rich and famous? Malcolm McLaren was one figure in Punk Rock in particular who, some might say, affirmed this theory with his commercialising The Sex Pistols and famously causing them to split and “sell out”. McLaren was an entrepreneurial type whose early involvements in the Punk scene eventuated to his management (or “creation”, as he deemed it) of the Sex Pistols in the mid seventies (Savage, 1991, p105). The Sex Pistols blurred the lines between commercialism and rebellion, with them having as many songs on the pop charts as any famous pop musician of the time. Anthems like “Anarchy in the UK” and “God Save the Queen” became enormous hits in the UK charts and soon were heard all around the world, turning The Sex Pistols from angry teenagers who were part of the underground Punk movement into rich and famous rock stars. The band members themselves would deny ever being in it for the money, but McLaren himself has admitted to cashing in on the bands popularity with merchandise and even film, giving the impression that they were more a product of commercialism rather than a Punk Rock band (Savage, 1991, pp500-502).
While some iconic historical Punk figures attitudes became askew due to fame and wealth, assimilation into Pop Culture was not the only intention behind why Punk Rock really began. For some Punk Rockers, the idea of creating a reactionary artistic statement against pop culture was key and the music was but a vessel for that creative expression of anger, anarchy and nihilism. In Phil Strongmans “A History of Punk” he observes that in some areas, Punk Rock was viewed as more of a religion than a subculture. It was a means of bringing people of the same ideals and beliefs together (p13, para2). This affirms the idea that Punk was made to act as a political a statement, a movement lead by the youth of a generation to call for change and progression. The “uniform” of the “Pure Punk” was one that was part of the statement (Strongman, 2007, pp12-20). American Punk Rock Pioneer Richard Hell from the innovating band “Richard Hell and the Voidoids” claims that the inspiration for the Punk uniform dates back as early as 1959, he himself taking influence from the French New Wave film ‘The 400 Blows’ by Francois Truffaut. Richard Hell once stated, “It (Hells uniform) looked like the kid in The 400 Blows, The Truffaut movie. I remember I had a picture of those three guys. I really thought all this stuff out in ’73 and ’74.” This theory of punk beginning as an artistic statement suggests that, unlike others, Punk was a well thought out art form rather than just rebellion for the sake of rebelling. Everything, down to what they wore served purpose in their intricate artistic intentions and counted towards the overall effect of the Punk phenomenon.
In conclusion, there is no one reason as to why Punk began but multiple theories, all of which bare an element of truth. While Punk rock may seem a contradiction in itself (what with it becoming a commercial genre of music when it was intended to remain on the cusp of popular culture) the initial intentions are ones that beg for a revolution, a change in music, image, and attitude towards politics, people and popular culture. ”Like a weed, Punk emerged during the parched decade between the sixties and the eighties, when the compass was spinning out of control, when the captain had lost control of the wheel.” (Rombes, 2009, “Opening Shot”). Punk did happen for a reason. It was an echo of the aggression brought on by the grimness of previous decades and a cure for the boredom that followed. “Destroy!” Johnny Rotten would scream in concert, but of course it had already happened (Rombes, 2009, pp206-207). Bibliography:
Cogan, B., 2006. The Encyclopedia of Punk. New York: Sterling Publishing Co.
Continuum Journal of Media and Cultural Studies. Vol. 20, No. 3, September 2006, pp. 383- 393.
Laing, D., Interpreting Punk Rock. Marxism Today, April 1978. Pp. 123-128
Larkin, C., 1997. The Virgin Encyclopedia of Seventies Music. Great Britain: Virgin Books.
Pillipov, M., Haunted by the spirit of ’77: Punk Studies and the Persistence of Politics.
Rombes, N., 2009. A Cultural Dictionary Of Punk. New York: The Continuum International Publishing Group Inc.
Sabin, R., 1999. Punk Rock: So what?: The Cultural Legacy of Punk. London: Routledge.
Savage, J., 1991. England’s Dreaming: Sex Pistols and Punk Rock. London: Faber and Faber Limited.
Shuker, R., 1994. Understanding Popular Music. London: Routledge.
Strongman, P., 2007. Pretty Vacant: A History of Punk. Great Britain: Orion Books.