An interview with Florin Şerban

Kramer, Gary M

doi:10.1386/fiin.10.1.94_7

Cited by 1 publication

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“…The simpler structures also encouraged social interaction and do-it-yourself aesthetics, later staples of the punk movement. According to Wayne Kramer, such structures – or lack thereof – challenge musicians to ‘pay complete attention to the other people that you're playing with so that you're actually playing together and all working together on a musical idea, a unified thought’ (Kramer 2012).…”

Section: Proto-punk Treatments Of Blues Resources (1960s–early 1970s)mentioning

confidence: 99%

“…While punk musicians themselves are usually unclear or silent about their music's roots in the blues, those they refer to as inspirations are often the opposite, quite vocal about their debt to the blues. For the MC5's Wayne Kramer, ‘growing up in Detroit, [the blues] was all kind of in the ether, it was just always there’, especially on the radio (Kramer 2012). Perhaps punk's most cited and most covered musician, Iggy Pop, began his career as an aspiring blues drummer (McNeil and McCain [1996] 2006, pp.…”

Section: Roots and Tradition In Punk's Dustbinmentioning

confidence: 99%

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Hearing punk as blues

Rapport

2014

Pop. Mus.

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Punk is an extreme manifestation of the rock project, meaning that it depends on an association of raw and authentic expression with blackness, musically represented by particular approaches to the blues, combined with processes of white appropriation, transformation and obfuscation of those blues resources. Punk's powerful affect largely derives from the tension between punk's blues foundations and strategies that obscure its roots. Punk treatments and transformations of the blues include: (1) moving from multi-part, three-chord harmonic schemes to riffs and one-and two-chord vamps; (2) taking a new approach to vocal performance styles; and (3) retaining certain melodic approaches, such as the use of pentatonic scales and monophonic textures. Punk's complex relationship to the blues, including the history of negation and erasure, continues to be a central part of the punk aesthetic.Punk musicians (either self-identified or named as such by writers) such as the Sex Pistols, Damned, Electric Eels and Black Flag quickly settled on musical conventions,

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Section: Proto-punk Treatments Of Blues Resources (1960s–early 1970s)mentioning

confidence: 99%

Section: Roots and Tradition In Punk's Dustbinmentioning

confidence: 99%