Diferència entre revisions de la pàgina «Post-punk»

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{{traduint|en|Post-punk}}{{Infotaula de gènere musical
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Aquest gènere va trobar un lloc ferm a l'escena [[música indie|indie]] i va propiciar el desenvolupament d'altres gèneres com el [[rock gòtic]], la [[música industrial]] i el rock alternatiu.
 
{{== Referències}} ==
==Origin of the term==
{{Referències}}
The term "post punk" was used in 1977 by ''[[Sounds (magazine)|Sounds]]'' to describe [[Siouxsie and the Banshees]].<ref>[http://books.google.com/books?id=ZHP-r9-eqdAC&printsec=frontcover&dq=thompson,Dave.+Alternative+Rock.&client=firefox-a&cd=1#v=onepage&q=&f=false Dave Thompshon "Alternative Rock," p. 60, reprinted by Google Books]</ref> In 1980 critic [[Greil Marcus]] referred to "Britain's postpunk pop avant-garde" in a July 24, 1980 ''Rolling Stone'' article. He applied the phrase to such bands as [[Gang of Four (band)|Gang of Four]], [[The Raincoats]], and [[Essential Logic]], which he wrote were "sparked by a tension, humor, and sense of paradox plainly unique in present-day pop music."<ref>Greil Marcus, ''Ranters and Crowd Pleasers'', p. 109</ref>
 
==History Bibliografia ==
* Heylin, Clinton. 2007 ''Babylon's Burning: From Punk to Grunge''. (Initially issued on Viking). Reissued in 2008. 720 pages. Penguin. ISBN 978-0141024318
During the first wave of punk, roughly spanning 1974–1978, acts such as [[Sex Pistols]], [[The Clash]], [[Ramones]], [[Patti Smith]], [[The Saints (band)|The Saints]] and [[The Damned (band)|The Damned]] began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed.
* Reynolds, Simon. 2006. "Rip it Up and Start Again: Postpunk 1978 - 1984". London: Faber&Faber. ISBN 9780571215706
* McNeil, Legs and Gillian McCain. 1997. "Please Kill Me: The Uncensored Oral History of Punk". London: Little, Brown Book Group. ISBN 9780349108803
* Hebdige, Dick. 1979. "Subculture: The Meaning of Style". London: Taylor & Francis. ISBN 9780415039499
 
== Enllaços exterms ==
Classic examples of post-punk outfits include [[Wire (band)|Wire]], [[The Sisters of Mercy]], [[Siouxsie and the Banshees]], [[Magazine (band)|Magazine]], [[Public Image Ltd]], [[The Fall (band)|The Fall]], [[Joy Division]], [[Subway Sect]], [[Neu Electrikk]], [[Gang of Four (band)|Gang of Four]], [[New Order]], [[The Teardrop Explodes]], [[The Sound]], [[U2]], [[Echo & the Bunnymen]], [[The Birthday Party (band)|The Birthday Party]], [[The Psychedelic Furs]], [[The Lords of the New Church]], [[Killing Joke]], [[The Cure (música)|The Cure]], [[Bauhaus (band)|Bauhaus]], [[Devo]], [[The Jesus and Mary Chain]], and [[Crass]]. Several bands formed in the wake of traditional punk rock groups: Magazine was formed by [[Howard Devoto]], formerly of [[Buzzcocks]], for instance, and Public Image Ltd derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include [[Television (band)|Television]], whose album ''[[Marquee Moon]]'', although released in 1977 (and recorded in 1976) at the height of punk, is universally considered post-punk in style. Other groups, such as The Clash, remained predominantly punk in nature, yet were inspired by the experimentalism of post-punk, most notably in their album ''[[Sandinista!]]''.
 
Championed by late night [[BBC]] [[disc jockey|DJ]] [[John Peel]] and record label/shop [[Rough Trade Records|Rough Trade]] (amongst others, including [[Postcard Records]], [[Factory Records]], [[4AD|Axis/4AD]], [[Falling A Records]], [[Industrial Records]], [[Fast Product]], and [[Mute Records]]), "post-punk" could arguably be said to encompass many diverse groups and musicians.
 
[[Image:Sonic1991b.jpg|thumb|[[Kim Gordon]] of [[Sonic Youth]], walking over her bass guitar.]]
Around 1977, in North America, the New York [[No Wave]] was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as [[Teenage Jesus and the Jerks]], [[Glenn Branca]], [[Rhys Chatham]], [[Mars (band)|Mars]], [[James Chance and the Contortions]], [[DNA (band)|DNA]], [[Bush Tetras]], [[Theoretical Girls]], [[Swans (band)|Swans]], and [[Sonic Youth]]. No Wave focused more on performance art than actual coherent musical structure. The [[Brian Eno]]-produced ''[[No New York]]'' compilation is considered the quintessential testament to the history of No Wave.<ref>{{ref-llibre | cognom=Masters | nom=Marc | títol=No Wave | editorial=Black Dog Publishing | lloc=New York City | any=2008 | isbn=190615502X | pàgina=9}}</ref>
 
The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Many post-punk bands, most notably The Cure and Siouxsie and the Banshees, evolved into [[gothic rock]] and became identified with the [[goth subculture]]. Some shifted to a more commercial [[New Wave music|New Wave]] sound (such as Gang of Four),<ref>[{{Allmusic|class=album|id=r1687662|pure_url=yes}} Songs of The Free Bonus Tracks Allmusic review]</ref><ref>[{{Allmusic|class=album|id=r7986|pure_url=yes}} Hard Allmusic review]</ref> while others were fixtures on American [[college radio]] and became early examples of alternative rock. In the United States driven by [[MTV]] and alternative radio stations a number of post punk acts had an influence on or became part of the [[Second British Invasion]] of "[[New Music (music industry)|New Music]]" there.<ref>[http://news.google.com/newspapers?id=qQhKAAAAIBAJ&sjid=sx4NAAAAIBAJ&pg=2933,2175658&dq=new-music+new-wave&hl=en Triumph of the New [[Newsweek]] on Campus reprinted by the [[Michigan Daily]] March 2, 1984]</ref><ref>[http://docs.google.com/viewer?a=v&q=cache:K1FT9s7iZgMJ:iaspm-us.net/wordpress/wp-content/uploads/2010/09/Cateforis.pdf+Theo+Cateforis+the+death&hl=en&gl=us&pid=bl&srcid=ADGEESgXPV1cYTF5r2LVbQGmx2Vq76McE-1jikbaLuWR25ICOVhW1DXrVLZHO3GRx7LE_ki7TaPXhVFLU-DR_UJGNT9WLGe9rzwHKHs65aEhz92mAr0sxeZ81Vw_KUOOjJcoDsuvbehB&sig=AHIEtbSjIigaJFb7ZIlERw4k5u8F4Wt3ug The Death of New Wave Theo Canteforis Syracuse University 2009]</ref><ref>"Rip it Up and Start Again Post Punk 1978-1984" by [[Simon Reynolds]]</ref><ref>[http://books.google.de/books?id=JWdMOZGNOHUC&pg=PP1&dq=Tarnished+gold:+the+record+industry+revisited#v=onepage&q=british%20invasion&f=false Tarnished gold: the record industry revisited" Von R. Serge Denisoff, William L. Schurk p. 441]</ref>
 
===Post-punk revival===
{{see also|Post-punk revival}}
The turn of the 21st century saw a post-punk revival in British and American alternative rock, which soon started appearing in many different countries as well. The earliest sign of a revival was the emergence of various underground bands in the mid-90s. However, the first commercially successful bands, [[Interpol (band)|Interpol]], [[Editors]], [[Franz Ferdinand (band)|Franz Ferdinand]], and [[The Strokes]], surfaced in the late 1990s to early 2000s. Modern post-punk is far more commercially successful than in the 1970s and 1980s.
 
==See also{{Citació necessària|data=novembre de 2012}}==
*[[Art punk]]
*[[Cassette culture]]
*[[List of post-punk bands]]
*[[New Music (music industry)]]
 
==Notes==
{{Referències}}
 
==External links==
* {{Allmusic|class=explore|id=d2636|label=Post-Punk}}
* [[Julian Cope]]'s [http://www.headheritage.co.uk/unsung/albumofthemonth/2068 Post-punk essay and sampler]
* [http://maximumfun.org/sound-young-america/podcast-rip-it-and-start-again Hour-long public radio interview] with Simon Reynolds, author of ''Rip It Up and Start Again: Post-Punk 1978–1984'' on ''[[The Sound of Young America]]''
* [http://www.fastnbulbous.com/reynolds_rip.htm Simon Reynolds' ''Rip It Up and Start Again: Post-Punk 1978–1984''], ''Fast 'n' Bulbous'' review
 
==Further reading==
* Heylin, Clinton. 2007 ''Babylon's Burning: From Punk to Grunge''. (Initially issued on Viking). Reissued in 2008. 720 pages. Penguin. ISBN 978-0141024318
* Reynolds, Simon. 2006. "Rip it Up and Start Again: Postpunk 1978 - 1984". London: Faber&Faber. ISBN 9780571215706
* McNeil, Legs and Gillian McCain. 1997. "Please Kill Me: The Uncensored Oral History of Punk". London: Little, Brown Book Group. ISBN 9780349108803
* Hebdige, Dick. 1979. "Subculture: The Meaning of Style". London: Taylor & Francis. ISBN 9780415039499
 
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