Editing Punk rock (section)

===North America===
====New York City====
[[File:CBGB club facade.jpg|thumb|left|alt=The front of the music club CBGB is shown. An awning has the letters CBGB painted on it. Below the name are the letters "OMFUG".|Facade of legendary music club [[CBGB]], New York]]
The origins of New York's punk rock scene can be traced back to such sources as the late 1960s [[trash culture]] and an early 1970s [[underground rock]] movement centered on the [[Mercer Arts Center]] in [[Greenwich Village]], where the [[New York Dolls]] performed.{{sfn|Savage|1991|pp=86–90, 59–60}} In early 1974, a new scene began to develop around the [[CBGB]] club, also in [[Lower Manhattan]]. At its core was [[Television (band)|Television]], described by critic John Walker as "the ultimate garage band with pretensions".<ref name="W">Walker (1991), p. 662.</ref> Their influences ranged from [[The Velvet Underground]] to the staccato guitar work of [[Dr. Feelgood (band)|Dr. Feelgood]]'s [[Wilko Johnson]].<ref>Strongman (2008), pp. 53, 54, 56.</ref> The band's bassist/singer, [[Richard Hell]], created a look with cropped, ragged hair, ripped T-shirts, and black leather jackets credited as the basis for punk rock visual style.<ref name="S89">Savage (1992), p. 89.</ref> In April 1974, [[Patti Smith]] came to CBGB for the first time to see the band perform.<ref>Bockris and Bayley (1999), p. 102.</ref> A veteran of independent theater and performance poetry, Smith was developing an intellectual, feminist take on rock 'n' roll. On June 5, she recorded the single "[[Hey Joe]]"/"[[Piss Factory]]", featuring Television guitarist [[Tom Verlaine]]; released on her own Mer Records label, it heralded the scene's DIY ethic and has often been cited as the first punk rock record.<ref>{{cite web|title=Patti Smith—Biography|publisher=Arista Records|url=http://www.arista.com/psmith/smithbio.html|access-date=2007-10-23|archive-url=https://web.archive.org/web/20071103053048/http://www.arista.com/psmith/smithbio.html |archive-date=November 3, 2007|url-status=dead}} Strongman (2008), p. 57; Savage (1991), p. 91; Pareles and Romanowski (1983), p. 511; Bockris and Bayley (1999), p. 106.</ref> By August, Smith and Television were gigging together at [[Max's Kansas City]].<ref name="S89" />
[[File:Ramones Toronto 1976.jpg|thumb|230x230px|The [[Ramones]] performing in [[Toronto]] in 1976. The Ramones are often described as the first true punk band, popularizing the punk movement in the United States. They are regarded as highly influential in today's [[Punk subculture|punk culture]].]]
In [[Forest Hills, Queens]], the [[Ramones]] drew on sources ranging from the Stooges to [[the Beatles]] and [[the Beach Boys]] to [[Herman's Hermits]] and 1960s girl groups, and condensed rock 'n' roll to its primal level: {{" '}}1–2–3–4!' bass-player [[Dee Dee Ramone]] shouted at the start of every song as if the group could barely master the rudiments of rhythm."{{sfn|Savage|1991|pp=90–91}} The band played its first show at CBGB in August 1974.<ref>Gimarc (2005), p. 14</ref> By the end of the year, the Ramones had performed seventy-four shows, each about seventeen minutes long.<ref>Bessman (1993), p. 27.</ref> "When I first saw the Ramones", critic [[Mary Harron]] later remembered, "I couldn't believe people were doing this. The dumb brattiness."{{sfn|Savage|1991|pp=132–33}}{{Listen
| filename     = 
| title        = "I Wanna Be Sedated"
| description  = The 1978 single "[[I Wanna Be Sedated]]" was described by the author Brian J. Bow as one of the Ramones' "most classic" pieces of music. After a show in London, singer [[Joey Ramone]] told manager [[Linda S. Stein|Linda Stein]]: "Put me in a wheelchair and get me on a plane before I go insane."<ref>Bowe 2010, p. 52.</ref> This quote would be the chorus to "I Wanna Be Sedated", whose lyrics invoke the stress which the band was under during touring. It is the most downloaded song from the catalog by the Ramones.<ref>{{cite book|last1=Schinder|first1=Scott|last2=Schwartz|first2=Andy|title=Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever|year=2007|publisher=[[Greenwood Publishing Group]]|volume=2|isbn=978-0-313-33847-2|page=550}}</ref>
| format       = [[Ogg]]
}}

That spring, Smith and Television shared a two-month-long weekend residency at CBGB that significantly raised the club's profile.<ref>Bockris and Bayley (1999), p. 119.</ref> The Television sets included Richard Hell's "Blank Generation", which became the scene's emblematic anthem.<ref>Savage (1992) claims that "Blank Generation" was written around this time (p. 90). However, the Richard Hell anthology album ''Spurts'' includes a live Television recording of the song that he dates "spring 1974."</ref> Soon after, Hell left Television and founded a band featuring a more stripped-down sound, [[the Heartbreakers]], with former New York Dolls [[Johnny Thunders]] and [[Jerry Nolan]].<ref name="RHV" /> In August, Television recorded a single, "Little Johnny Jewel". In the words of John Walker, the record was "a turning point for the whole New York scene" if not quite for the punk rock sound itself – Hell's departure had left the band "significantly reduced in fringe aggression".<ref name="W" />

Early in 1976, Hell left the Heartbreakers to form [[the Voidoids]], described as "one of the most harshly uncompromising [punk] bands".<ref>Pareles and Romanowski (1983), p. 249.</ref> That April, the Ramones' debut album was released by [[Sire Records]]; the first single was "[[Blitzkrieg Bop]]", opening with the rallying cry "Hey! Ho! Let's go!" According to a later description, "Like all cultural watersheds, ''[[Ramones (album)|Ramones]]'' was embraced by a discerning few and slagged off as a bad joke by the uncomprehending majority."<ref name="trouser3">{{cite web|title=Ramones|author1=Isler, Scott|author2=Robbins, Ira|work=Trouser Press|url=http://trouserpress.com/entry.php?a=ramones|access-date=2007-10-23|archive-date=November 2, 2007|archive-url=https://web.archive.org/web/20071102185040/http://www.trouserpress.com/entry.php?a=ramones|url-status=live}}</ref> [[The Cramps]], whose core members were from [[Sacramento, California]] and [[Akron, Ohio]], had debuted at CBGB in November 1976, opening for the Dead Boys. They were soon playing regularly at Max's Kansas City and CBGB.<ref>Porter (2007), pp. 48–49; Nobahkt (2004), pp. 77–78.</ref>

At this early stage, the term ''punk'' applied to the scene in general, not necessarily a particular stylistic approach as it would later—the early New York punk bands represented a broad variety of influences. Among them, the Ramones, the Heartbreakers, Richard Hell and the Voidoids, and the Dead Boys were establishing a distinct musical style. Even where they diverged most clearly, in lyrical approach – the Ramones' apparent guilelessness at one extreme, Hell's conscious craft at the other – there was an abrasive attitude in common. Their shared attributes of minimalism and speed, however, had not yet come to define punk rock.<ref>Walsh (2006), p. 8.</ref>