Editing Punk rock (section)

===United Kingdom===
The [[Sex Pistols]]' live TV skirmish with [[Bill Grundy]] on December 1, 1976, was the signal moment in [[British punk]]'s transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by.<ref>Savage (1992), pp. 260, 263–67, 277–79; Laing (1985), pp. 35, 37, 38.</ref> Press coverage of punk misbehavior grew intense: On January 4, 1977, ''[[The Evening News (London newspaper)|The Evening News]]'' of London ran a front-page story on how the Sex Pistols "vomited and spat their way to an Amsterdam flight".<ref>Savage (1992), p. 286.</ref> In February 1977, the first album by a British punk band appeared: ''[[Damned Damned Damned]]'' (by the Damned) reached number thirty-six on the UK chart. The EP ''[[Spiral Scratch (EP)|Spiral Scratch]]'', self-released by Manchester's [[Buzzcocks]], was a benchmark for both the DIY ethic and regionalism in the country's punk movement.<ref>Savage (1992), pp. 296–98; Reynolds (2005), pp. 26–27. Though see also McKay 2023 for an alternative view of the extent of punk's 'DIY-ness'.</ref> [[The Clash]]'s [[The Clash (album)|self-titled debut album]] came out two months later and rose to number twelve; the single "[[White Riot]]" entered the top forty. In May, the Sex Pistols achieved new heights of controversy (and number two on the singles chart) with "[[God Save the Queen (Sex Pistols song)|God Save the Queen]]". The band had recently acquired a new bassist, [[Sid Vicious]], who was seen as exemplifying the punk persona.<ref>Colegrave and Sullivan (2005), p. 225.</ref> The swearing during the Grundy interview and the controversy over "God Save the Queen" led to a [[moral panic]].<ref>Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 48-49</ref>

Scores of new punk groups formed around the United Kingdom, as far from London as Belfast's [[Stiff Little Fingers]] and Dunfermline, Scotland's [[the Skids]].<ref>See Worley (2017) for an overview of the regional spread of punk in its early years.</ref> Though most survived only briefly, perhaps recording a small-label single or two, others set off new trends. [[Crass]], from [[Essex]], merged a vehement, straight-ahead punk rock style with a committed anarchist mission, and played a major role in the emerging [[anarcho-punk]] movement.<ref>{{cite news|last1=Swash|first1=Rosie|title=Crass's political punk is as relevant now as ever|url=https://www.theguardian.com/music/2010/oct/24/crass-penny-rimbaud-steve-ignorant|newspaper=The Guardian|access-date=March 26, 2015|date=October 23, 2010|archive-date=April 2, 2015|archive-url=https://web.archive.org/web/20150402112739/http://www.theguardian.com/music/2010/oct/24/crass-penny-rimbaud-steve-ignorant|url-status=live}}</ref> Sham 69, London's Menace, and the [[Angelic Upstarts]] from [[South Shields]] in the Northeast combined a similarly stripped-down sound with populist lyrics, a style that became known as [[street punk]]. These expressly working-class bands contrasted with others in the second wave that presaged the [[post-punk]] phenomenon. Liverpool's first punk group, [[Big in Japan (band)|Big in Japan]], moved in a glam, theatrical direction.<ref>Reynolds (2005), pp. 365, 378.</ref> The band did not survive long, but it spun off several well-known post-punk acts.<ref>Savage (1991), p. 298.</ref> The songs of London's [[Wire (band)|Wire]] were characterized by sophisticated lyrics, minimalist arrangements, and extreme brevity.<ref>Reynolds (2005), pp. 170–72.</ref>

Alongside thirteen original songs that would define classic punk rock, the Clash's debut had included a cover of the recent Jamaican [[reggae]] hit "[[Police and Thieves]]".<ref>Shuker (2002), p. 228; Wells (2004), p. 113; Myers (2006), p. 205; {{cite web |title=Reggae 1977: When The Two 7's Clash |publisher=Punk77.co.uk |url=http://www.punk77.co.uk/punkhistory/reggae.htm |access-date=December 3, 2006 |archive-date=September 7, 2012 |archive-url=https://archive.today/20120907155344/http://www.punk77.co.uk/punkhistory/reggae.htm |url-status=live }}</ref> Other first wave bands such as [[the Slits]] and new entrants to the scene like [[the Ruts]] and [[the Police]] interacted with the reggae and [[ska]] subcultures, incorporating their rhythms and production styles. The punk rock phenomenon helped spark a full-fledged ska revival movement known as [[2 Tone (music genre)|2 Tone]], centered on bands such as [[the Specials]], [[The Beat (British band)|the Beat]], [[Madness (band)|Madness]], and [[the Selecter]].<ref>Hebdige (1987), p. 107.</ref> In July, the Sex Pistols' third single, "[[Pretty Vacant]]", reached number six and Australia's the Saints had a top-forty hit with "[[This Perfect Day (song)|This Perfect Day]]".<ref>Wells (2004), p. 114.</ref>

In September, Generation X and the Clash reached the top forty with, respectively, "Your Generation" and "[[Complete Control]]". X-Ray Spex's "[[Oh Bondage Up Yours!]]" did not chart, but it became a requisite item for punk fans.<ref>Gaar (2002), p. 200.</ref> The BBC banned "Oh Bondage Up Yours!" due to its controversial lyrics.<ref>Laing, Dave. ''One Chord Wonders: Power and Meaning in Punk Rock''. PM Press, 2015. p. 86</ref> In October, the Sex Pistols hit number eight with "[[Holidays in the Sun (song)|Holidays in the Sun]]", followed by the release of their first and only "official" album, ''[[Never Mind the Bollocks, Here's the Sex Pistols]]''. Inspiring yet another round of controversy, it topped the British charts. In December, one of the first books about punk rock was published: ''The Boy Looked at Johnny'', by [[Julie Burchill]] and [[Tony Parsons (British journalist)|Tony Parsons]].{{refn|group=nb|The title echoes a lyric from the title track of Patti Smith's 1975 album ''Horses.''}}