The Origin of Punk and its Link to High and Low Culture

 





The Origin of Punk and its Link to High and Low Culture

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The origin of Punk 
There has been a lot of discussion regarding who started punk ever since the first album, first Clash. Depending on whom talks about punk, anarchists treasure the music from the tradition of Manhattan’s East Side urban area and music from trash-laden streets in London. The debate in New York is successfully given in McNeil’s collection between the accounts of velvets, Stooges and MC5 by heartbreakers, and dead boys.  This long argument comes to a conclusion that punk originates from America. McNeil is named among the founders of punk magazine; he spent time with people of his kind and he can settle with redcoats. In 1965, the most subversive band in history was Velvet Underground of London with the songs maybe the Mysterians and okay among others. 
John Lydon argues that pistols came into existence before the 1976 tour of the Ramones, but he agrees that a lot of respect is accorded to Stooges for assisting his band (Curtis 1987, p. 360). The roots of punk formed and spread in States in the sixties and the seventies in response to the hard edge hippie sounds and British Invasion of California. However, McNeil acknowledges the role of Stooges In creating punk and he is satisfied by their work.
Some other people, Lou Reed and John Cale, described the rise the Velvets as near-miss when they lost novelty to Doors during a march against them. Detroit, who fuelled nitro movements, thought that hippies had a brilliant idea. In addition, Detroit thinks that Osterberg was a child of loafers who had a passion of drumming. In his opinion, Stooges and the five had the capacity to conquer rock world, but they lacked the will power to handle mainstream (Taylor 2003, p. 223). Patti Smith of New York played a three-chord style of rock in 1971 while wearing glitters and lipstick that gave birth to name New York dolls.
The hit song “please kill me”, describes the myths that they used in the older age before their destruction by other sources. For instance, the legendary T-shirt of Richard Hell and Voidoids gave birth to the title of the book, but Hell did not put it on instead his band mate, Richard, did. It is also astonishing to find out the Ramones band did not make the scene CBGB’s but the Television. The television band was advanced than Ramones by at least five months, and they played in decent audiences. 
The characters, in the book, are captivating alongside the managers, fans, band members and scene makers. Therefore, once the readers read the book, they understand musicians and the music itself as if it was happening in real time. The stories are classic, and they make the readers feel as if they attended all the concerts of CBGB’s.  Some people would like to blame the failure of punk to penetrate the music industry on Sex Pistol. The group embarked on a tour to America at a time when the group was gaining momentum, but the recording industry turned their back on them (Leblanc 1999, p. 145). A thorough reading of the book indicates that there was a mastermind behind the collapse of New York punk that led to the establishment of LA recording companies.
How do these debates link to the wider debate about the traffic between high and low culture?
Reevaluation of culture reveals challenges with the traditional point of view, as tarnished, and the elite culture as uplifting. Divisions between low and high culture have over the years been seen as political and not intellect or defensible aesthetic. The history of punk reveals that musical movement is a group of musicians pushing their image and sounds. The punks relate to modernism in style, performance and attitude where they use cultural images in a shocking manner, in the social space. In New York and Britain, the musicians created postmodern aesthetic, which they had, learnt in the school of art. The society understands it as a response by the youth to the consumer driven surrounding into the society. In addition, the bands have personified the purposelessness and boredom of the youths who have socialized consumers and spectators (Jandt 2009, p. 176). Hence, punk brought about socio-economic changes, which erased the, industrial systems and accelerated the usage of symbols, images and other commodities. These changes have affected the daily lives of the youth who are solicited through the entertainment industry and the media and erases the older way of life.
Punk has also influenced authenticity and independence of the industry which insulated the punk culture from the superficiality of postmodernity. Hence, those seeking to authenticate their way of life have created alternative media houses that are not in the culture industry.  These houses seek to elevate appearance and fashion of their music in a creative manner. The process of personalizing music networks from the corporate is known as “do-i