Editing Punk rock (section)

== Other influential subgenres ==

===Oi!===
{{Main|Oi!}}
{{Listen
|filename=The Exploited Punks not dead.ogg
|title="Punks Not Dead"
|description=The title track of [[the Exploited]]'s debut, ''[[Punks Not Dead]]'', the top independent UK album of 1981.<ref>Hess (2007), p. 165.</ref> The song exemplifies the Oi! sound as "harsher, darker, and cruder" than first-wave punk.<ref>Lamey and Robbins (1991), p. 230.</ref>
}}

Following the lead of first-wave British punk bands [[Cock Sparrer]] and [[Sham 69]], in the late 1970s second-wave groups like [[Cockney Rejects]], [[Angelic Upstarts]], [[the Exploited]], and [[the 4-Skins]] sought to realign punk rock with a working class, street-level following.{{sfn|Sabin|1999|loc=p. 216 n. 17}}<ref>Dalton, Stephen, "Revolution Rock", Vox, June 1993.</ref> They believed the music needed to stay "accessible and unpretentious", in the words of music historian [[Simon Reynolds]].<ref>Reynolds (2005), p. 1.</ref> Their style was originally called "real punk" or [[street punk]]; ''[[Sounds (magazine)|Sounds]]'' journalist [[Garry Bushell]] is credited with labelling the genre ''Oi!'' in 1980. The name is partly derived from the Cockney Rejects' habit of shouting "Oi! Oi! Oi!" before each song, instead of the time-honored "1, 2, 3, 4!"<ref>Robb (2006), p. 469.</ref>

The Oi! movement was fueled by a sense that many participants in the early punk rock scene were, in the words of [[The Business (band)|the Business]] guitarist Steve Kent, "trendy university people using long words, trying to be artistic&nbsp;... and losing touch".<ref>Quoted in Robb (2006), pp. 469–70.</ref> According to Bushell, "Punk was meant to be of the voice of [[the dole]] queue, and in reality, most of them were not. But Oi was the reality of the punk mythology. In the places where [these bands] came from, it was harder and more aggressive and it produced just as much quality music."<ref>Robb (2006), p. 470.</ref> Lester Bangs described Oi! as "politicized football chants for unemployed louts".<ref>Bangs, Lester. "If Oi Were a Carpenter". ''Village Voice''. April 27, 1982.</ref> One song in particular, the Exploited's "Punks Not Dead", spoke to an international constituency. It was adopted as an anthem by the groups of disaffected Mexican urban youth known in the 1980s as ''bandas''; one ''banda'' named itself PND, after the song's initials.<ref>Berthier (2004), p. 246.</ref>

Although most Oi! bands in the initial wave were apolitical or left wing, many of them began to attract a [[white power skinhead]] following. Racist skinheads sometimes disrupted Oi! concerts by shouting fascist slogans and starting fights, but some Oi! bands were reluctant to endorse criticism of their fans from what they perceived as the "middle-class establishment".<ref name="tzvi">Fleischer, Tzvi. [http://www.aijac.org.au/review/2000/258/sounds.html "Sounds of Hate"] {{webarchive|url=https://web.archive.org/web/20051214043644/http://www.aijac.org.au/review/2000/258/sounds.html |date=December 14, 2005}}. Australia/Israel & Jewish Affairs Council (AIJAC), August 2000. Retrieved on January 14, 2007.</ref> In the popular imagination, the movement thus became linked to the far right.<ref>Robb (2006), pp. 469, 512.</ref> ''[[Strength Thru Oi!]]'', an album compiled by Bushell and released in May 1981, stirred controversy, especially when it was revealed that the belligerent figure on the cover was a [[Neo-Nazism|neo-Nazi]] jailed for racist violence (Bushell claimed ignorance).<ref name=Bushell>{{cite web|author=Bushell, Garry|url=http://www.garry-bushell.co.uk/oi/index.asp |title=Oi!—The Truth|publisher=garry-bushell.co.uk|access-date=2010-12-23 |archive-url=https://web.archive.org/web/20080731120915/http://www.garry-bushell.co.uk/oi/index.asp |archive-date=2008-07-31}}</ref> On July 3, a concert at Hamborough Tavern in [[Southall]] featuring the Business, the 4-Skins, and the Last Resort was firebombed by local Asian youths who believed that the event was a neo-Nazi gathering.<ref>Gimarc (1997), p. 175; Laing (1985), p. 112.</ref> Following the Southall riot, press coverage increasingly associated Oi! with the extreme right, and the movement soon began to lose momentum.<ref name=Robb511>Robb (2006), p. 511.</ref>
{{clear}}

===Anarcho-punk===
{{Main|Anarcho-punk}}
[[File:Crass3.jpg|thumb|alt=Two members of the rock band Crass are shown at a performance. From left to right are an electric guitarist and a singer. Both are dressed in all-black clothing. The singer is making a hand gesture.|[[Crass]] were the originators of anarcho-punk.<ref name="W35">Wells (2004), p. 35.</ref> Spurning the "cult of rock star personality", their plain, all-black dress became a staple of the genre.<ref>Hardman (2007), p. 5.</ref>]]
Anarcho-punk developed alongside the Oi! and American hardcore movements. Inspired by [[Crass]], its [[Dial House, Essex|Dial House]] commune, and its independent [[Crass Records]] label, a scene developed around British bands such as [[Subhumans (British band)|Subhumans]], [[Flux of Pink Indians]], [[Conflict (band)|Conflict]], [[Poison Girls]], and [[The Apostles (band)|the Apostles]] that was as concerned with anarchist and DIY principles as it was with music. Several Crass members were of an older generation of artist and cultural provocateur and thus linked their version of punk directly back to the 1960s counterculture and early 1970s avant-gardism.<ref>McKay 1996, chapter 3.</ref> The acts featured ranting vocals, discordant instrumental sounds, seemingly primitive production values, and lyrics filled with political and social content, often addressing issues such as class inequalities and military violence.<ref name=G170>Gosling (2004), p. 170.</ref> Anarcho-punk disdained the older punk scene from which theirs had evolved. In historian Tim Gosling's description, they saw "safety pins and Mohicans as little more than ineffectual fashion posturing stimulated by the mainstream media and industry. [...] Whereas the Sex Pistols would proudly display bad manners and opportunism in their dealings with 'the establishment,' the anarcho-punks kept clear of 'the establishment' altogether".<ref>Gosling (2004), pp. 169–70.</ref>

The movement spun off several subgenres of a similar political bent. [[Discharge (band)|Discharge]], founded back in 1977, established [[D-beat]] in the early 1980s. Other groups in the movement, led by [[Amebix]] and [[Antisect]], developed the extreme style known as [[crust punk]]. Several of these bands rooted in anarcho-punk such as [[the Varukers]], Discharge, and Amebix, along with former Oi! groups such as [[the Exploited]] and bands from farther afield like Birmingham's [[Charged GBH]], became the leading figures in the [[UK 82]] hardcore movement. The anarcho-punk scene also spawned bands such as [[Napalm Death]], [[Carcass (band)|Carcass]], and [[Extreme Noise Terror]] that in the mid-1980s defined [[grindcore]], incorporating extremely fast tempos and [[death metal]]–style guitarwork.<ref>Purcell (2003), pp. 56–57.</ref> Led by Dead Kennedys, a U.S. anarcho-punk scene developed around such bands as Austin's [[MDC (band)|MDC]] and Southern California's Another Destructive System.<ref>{{cite web |url=http://sosrecords.us/label/taxonomy/term/1 |title=News Items|website=SOS Records|date=March 12, 2007|archive-url=https://web.archive.org/web/20071218223342/http://sosrecords.us/label/taxonomy/term/1 |archive-date=December 18, 2007}} [http://www.animamundi.org/links.html Links] {{Webarchive|url=https://web.archive.org/web/20050227185258/http://www.animamundi.org/links.html |date=February 27, 2005 }} Anima Mundi. Both retrieved on November 25, 2007.</ref>

===Pop-punk===
{{Main|Pop-punk}}
[[File:Ben-weasel2.jpg|thumb|upright|[[Ben Weasel]] of pop-punk band Screeching Weasel]]
With their love of [[the Beach Boys]] and late 1960s [[bubblegum pop]], the Ramones paved the way to what became known as pop-punk.<ref>Besssman (1993), p. 16; Carson (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p. 206.</ref> In the late 1970s, UK bands such as [[Buzzcocks]] and [[the Undertones]] combined pop-style tunes and lyrical themes with punk's speed and chaotic edge.<ref>Cooper, Ryan. [http://punkmusic.about.com/od/artistprofiles/p/buzzcocksfinal.htm "The Buzzcocks, Founders of Pop Punk"] {{Webarchive|url=https://web.archive.org/web/20120204233639/http://punkmusic.about.com/od/artistprofiles/p/buzzcocksfinal.htm |date=February 4, 2012 }}. About.com. Retrieved on December 16, 2006.</ref> In the early 1980s, some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist [[Ben Myers]], [[Bad Religion]] "layered their pissed off, politicized sound with the smoothest of harmonies"; [[Descendents (band)|Descendents]] "wrote almost surfy, Beach Boys-inspired songs about girls and food and being young(ish)".<ref>Myers (2006), p. 52.</ref> [[Epitaph Records]], founded by [[Brett Gurewitz]] of Bad Religion, was the base for many future pop-punk bands. The mainstream pop-punk of latter-day bands such as [[Blink-182]] or [[Green Day]] are criticized by many punk rock fans; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures."<ref>Di Bella, Christine. [https://www.popmatters.com/blink-182-020611-2496087285.html "Blink 182 + Green Day"]. PopMatters.com. June 11, 2002. [https://web.archive.org/web/20070323083826/http://www.popmatters.com/music/concerts/b/blink-182-020611.shtml Archived] on March 23, 2007. Retrieved on February 4, 2007.</ref>

===Fusions and directions===
{{see also|Punk rock subgenres}}
From 1977 on, punk rock crossed lines with many other [[popular music]] genres. Los Angeles punk rock bands laid the groundwork for a wide variety of styles: [[the Flesh Eaters]] with [[deathrock]]; [[the Plugz]] with [[Chicano punk]]; and [[Gun Club]] with [[punk blues]]. [[The Meteors]], from [[South London]], and [[the Cramps]] were innovators in the [[psychobilly]] fusion style.<ref>Porter (2007), p. 86.</ref> Milwaukee's [[Violent Femmes]] jumpstarted the American [[folk punk]] scene, while [[the Pogues]] did the same on the other side of the [[Atlantic Ocean|Atlantic]].<ref>Hendrickson, Tad. [https://www.npr.org/templates/story/story.php?storyId=101915358 "Irish Pub-Rock: Boozy Punk Energy, Celtic Style"] {{Webarchive|url=https://web.archive.org/web/20180904225820/https://www.npr.org/templates/story/story.php?storyId=101915358 |date=September 4, 2018 }}. NPR Music, March 16, 2009. Retrieved on November 12, 2010.</ref> Other artists to fuse elements of [[folk music]] into punk included [[R.E.M.]] and [[the Proclaimers]].<ref name="ReidLyrics">{{cite book |last1=Reid |first1=Craig |last2=Reid |first2=Charles |title=The Proclaimers Lyrics |date=2014 |publisher=Coffee Table Digital Publishing |isbn=9780993117794 |url=https://books.google.com/books?id=VYmWBQAAQBAJ&pg=PT164 |access-date=March 14, 2020 |archive-date=May 4, 2021 |archive-url=https://web.archive.org/web/20210504181433/https://books.google.com/books?id=VYmWBQAAQBAJ&pg=PT164 |url-status=live }}</ref>