Charles’ patches and pins :)
SKA pin: Quick History lesson because I had no idea what it was: definitely google more:
SKA is a music genre that originated in Jamaica. In the 70s a lot of Jamaicans immigrated to the UK. Punks and young Jamaican immigrants felt a sense of unity due to both being screwed over by the system. This led to 2 Tone SKA which mixed SKA with punk rock elements. While 2 Tone SKA is a genre, it was also a movement that focused on racial unity.
Rude Boy patch: In late 60s Jamaica RudeBoys were young “delinquents” who listened to rocksteady music. Term was used in England to refer to fans of SKA and 2 tone. Think the other insults used for punks that have been reclaimed.
Checker Print pin: Represents racial unity in the movement.
Target patch: Symbol for the Mod subculture. Google this one to.
Union Jack pin (on bag) and patch: He sure is British
Smiley face pin: I believe it’s just a generic smiley face but it could be a logo.
Unknown metal(?) pin: I can’t get a clear enough look at it to even begin to guess what it is.
Unknown pin: I have no idea. The one between the metal one and the checker print. No a clue.
Unknown flag(?) pin: A flag with horizontal blue, yellow, and red stripes but I can’t find anything with those colors in that order.
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Lesson 2: We're All Punk Here
CLASS IS IN SESSION.
This is my third time typing this damn lesson, so you'll excuse me if I'm a little short.
The image above was just filler for a `zine, but it became emblematic of a movement. The three chords and the truth vibe, the go out and do something call to action. This is a fifteen word manifesto, and it helped to codify what it meant to be a punk. The subculture has deep roots - ridiculously deep - but unlike some, it at least has a pretty clear lineage. Let's delve in.
If this glorious bastard looks familiar, it's because his guitar is my icon. Woody Guthrie was a protest singer back in the day, and in this berk's opinion, the great-great-granddaddy of the punk movement. Let's give it a look.
-Did shit? Yes, he would go from farm to farm trying to get the migrant workers to unionize.
-Stripped down instrumentation? Can't get any simpler than one man and his guitar.
-Sang in support of the common man, damning the powers what be? Just listen to the lyrics. Or the words on his guitar - THIS MACHINE KILLS FASCISTS.
Folk was integral to the creation of punk - folk singer Dave Van Ronk famously joined in at Stonewall, not because he knew what was going on or was queer, but because he saw people fighting cops and thought yeah, rock on, let's do this. It was joined by the cynicism of the beat movement. The surrealism of Burroughs, and (unfortunately) the pretentious prose experiments of Kerouac helped to grease the wheels for what was to come. And from here, we have a very clear lineage, particularly in the UK punk scene. From folk and the beats, we got the MODS.
Short for Modernists, not Moderates, the mods were jazz-loving bastards that were known for taking amphetamines and dancing all night, driving around in souped up Vespas with entirely too many mirrors, getting into fights with rockers, and generally being the glorious asshole follow-ups to the beats. The thing is, they also got popular. Real fuckin' popular. And this created a problem. By the mid sixties, the mods had split in two. The larger part of the mods went mainstream, becoming what the others decried as "soft mods" or "peacock mods", while the remainder became "hard mods". These sods were working class folk, blue collar and unpretentious and kickass, and they found kindred spirits in the Jamaican Rude Boy subculture... and a music they called ska.
And from these "hard mods", we got... skinheads.
Yeah, skinheads. And before you say it, no, these weren't the racist neo-nazi fucks that we delight in introducing to the business end of a pipe wrench. That division came much later. These skinheads were basically just proto-punks, enraged at the world, but embracing music that spoke of unity and togetherness.
The fuel for the glorious, angry bonfire that was punk was there in the seventies, but it needed a spark. While 76 was widely considered Year Zero for the punk movement, it was 77 that gave us the watershed moment - the moment that punk erupted into public consciousness. It gave us the Sex Pistols, and "God Save the Queen".
Not too shabby for a band that picked a bassist based entirely on how he looked, right?
Now, I'm not going to say that the Sex Pistols were a great group. Musically they were middling, but the sheer impact they made cannot be understated. They outright called the UK a fascist regime in the second line of their first single, released the week of the Queen's diamond jubilee. "God Save the Queen" was banned from airplay in the UK, and is to this day one of the most banned records of all time.
This attention, and stellar releases from fellow UK punk band The Clash, helped to galvanize the scene. As "Never Mind the Bollocks, Here's The Sex Pistols" hit #1 on the charts, it was obvious that the punk scene was here to stay.
In the US, the scene started with a bar called CBGB, and an extended tenure of two bands - Television and The Ramones, with the latter band becoming sort of the prototype of the American punk band, focused on stripped down rock numbers, and a slightly goofier feel. This berk will argue that the Ramones were never truly punk - they were punk adjacent at a time when Punk was an upcoming genre, Johnny Ramone being a hardcore republican - but that's an argument for another time.
You see, with those bands making the first ripples, other bands soon impacted that turned it into a wave. `77 was the start of the Second Wave of Punk, the first years that punk could be considered a unified genre instead of a couple of bands doing their own thing that sort of fell into the same groove. The Misfits, Black Flag, the Police...
I could follow this rabbit hole all day. By `79 the genre was splintering, branching out into a dozen disparate subgenres, which are still branching out to this day. But instead of exploring every single one - which would be better served as another group of lessons another day - I'll leave you with the track of the week. The Badass Creed for the punk movement. The song that took a stand against the right wing trying to adopt punk in the 80's. The song that set the stage for Hobie Brown, and which arguably serves as the backbone to the punk ethos today... here's the Dead Kennedys, "Nazi Punks Fuck Off".
`NUFF SAID.
CLASS DISMISSED.
And next time, we're going to be looking at a genre which producer Rick Rubin could only process as "black punk rock" when he first heard it... I said a hip-hop, the hippie, the hippie to the hip, hip-hop and you don't stop the rockin' to the bang-bang boogie, say up jump the boogie to the rhythm of the boogie, the beat…
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