Punk pathetique: Difference between revisions
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{{Short description|Punk rock subgenre}} |
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{{Infobox music genre |
{{Infobox music genre |
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|name=Punk pathetique |
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|instruments={{hlist|[[Drum kit|Drums]]|[[guitar]]|[[bass guitar]]|[[piano]]}} |
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|popularity=Underground following among [[Punk subculture|punks]], [[skinhead]]s, Herberts and [[casuals]] |
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[[Image:ToyDolls-Olga Wiesbaden2005-04-01.jpg|thumb|Michael "Olga" Algar of punk pathetique band [[Toy Dolls]] on stage in 2005]] |
[[Image:ToyDolls-Olga Wiesbaden2005-04-01.jpg|thumb|Michael "Olga" Algar of punk pathetique band [[Toy Dolls]] on stage in 2005]] |
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'''Punk pathetique''' is a [[subgenre]] of |
'''Punk pathetique''' is a [[subgenre]] of British [[punk rock]] (principally active circa 1980–1982) that involved humour and [[working class|working-class]] cultural themes.<ref name=Bushell>{{cite web | url = http://www.garry-bushell.co.uk/oi/index.asp | title = The Story of Oi! | access-date = 2006-07-07 | author = Garry Bushell | publisher = garry-bushell.co.uk |archive-url = https://web.archive.org/web/20060624055720/http://www.garry-bushell.co.uk/oi/index.asp |archive-date = 2006-06-24| author-link = Garry Bushell }}</ref> |
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==Origin== |
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| ⚫ | The name of the genre was coined by ''[[Sounds (magazine)|Sounds]]'' journalist [[Garry Bushell]], who actively championed many of its exponents. Punk pathetique was initially an attempt to characterize a group of [[London]] bands that embodied [[Cockney]] culture with a [[Dickensian]] [[working class]] attitude. Musically, it was related to (and had crossover with) the [[Oi!]] subgenre. The cover of the 1980 Bushell/''Sounds'' [[compilation album]] ''Oi |
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| ⚫ | The name of the genre was coined by ''[[Sounds (magazine)|Sounds]]'' journalist [[Garry Bushell]], who actively championed many of its exponents. Punk pathetique was initially an attempt to characterize a group of [[London]] bands that embodied [[Cockney]] culture with a [[Dickensian]] [[working class]] attitude. Musically, it was related to (and had crossover with) the [[Oi!]] subgenre. The cover of the 1980 Bushell/''Sounds'' [[compilation album]] ''[[Oi! The Album]]'' described the record as featuring "ruck 'n' rollers and punk pathetiques".<ref name=gimarc>{{cite book | last = Gimarc | first = George | title = Punk Diary 1970-1982 | year = 2006 | publisher = Backbeat Books |location=San Francisco |url=https://books.google.com/books?id=4WM6Cb1z-PwC |isbn=0-87930-848-6 }}</ref>{{rp|393}} In contrast to harder-edged Oi! bands with more serious lyrics, punk pathetique bands focused on the naughty, silly and trivial. Max Splodge of Splodgenessabounds said: "The pathetique bands are the other side of Oi! We're working class too, only whereas some bands sing about prison and [[welfare spending|the dole]], we sing about [[pilchard]]s and bums. The audience is the same".<ref name="Bushell"/> |
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Some punk pathetique bands had notable success in the UK charts. [[Toy Dolls]] reached No. 4 in December 1984 with "Nellie the Elephant". [[Splodgenessabounds]] reached No. 7 in 1980 with "Simon Templar," and No. 26 with "Two Little Boys" later that year. According to Bushell: |
Some punk pathetique bands had notable success in the UK charts. [[Toy Dolls]] reached No. 4 in December 1984 with "Nellie the Elephant". [[Splodgenessabounds]] reached No. 7 in 1980 with "Simon Templar," and No. 26 with "Two Little Boys" later that year. According to Bushell: |
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{{cquote|During 1980, [[hooligan]] audiences, especially in [[South East (London sub region)|South East London]], found new live laughs in the shape of Peckham-based piss-artist pranksters Splodgenessabounds, whose brand of coarse comedy and punk energy scored three Top 30 singles that year. Their debut single, "Two Pints of Lager and a Packet of Crisps Please" was a Top 10 smash. Tongue in cheek, I dubbed them "punk pathetique" along with equally crazy bands like [[Brighton]]'s [[Peter and the Test Tube Babies]] and [[Mackem|Maccam]] jesters the Toy Dolls.<ref name="Bushell"/>}} |
{{cquote|During 1980, [[hooligan]] audiences, especially in [[South East (London sub region)|South East London]], found new live laughs in the shape of Peckham-based piss-artist pranksters Splodgenessabounds, whose brand of coarse comedy and punk energy scored three Top 30 singles that year. Their debut single, "Two Pints of Lager and a Packet of Crisps Please" was a Top 10 smash. Tongue in cheek, I dubbed them "punk pathetique" along with equally crazy bands like [[Brighton]]'s [[Peter and the Test Tube Babies]] and [[Mackem|Maccam]] jesters the Toy Dolls.<ref name="Bushell"/>}} |
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Peter and the Test Tube Babies were first featured in ''Sounds'' in July 1980, and made their vinyl debut on ''Oi! |
Peter and the Test Tube Babies were first featured in ''Sounds'' in July 1980, and made their vinyl debut on ''[[Oi! The Album]]'' later that year. They favoured absurd lyrics and strange titles, such as "The Queen Gives Good Blow Jobs" and "Elvis Is Dead (He Was 42 and a Fat Cunt)".<ref name=gimarc/>{{rp|348}} Toy Dolls, based in [[City of Sunderland|Sunderland]], shared the punk pathetique approach to nonsensical entertainment. Toy Dolls singer Michael "Olga" Algar told ''Sounds'' in March 1980: "We're a [[New wave music|new wave]] group, but we're not serious. All our songs are pretty childish and infantile, but they're all based on things and people 'round here".<ref name=gimarc/>{{rp|312}} |
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Bushell wrote that punk pathetique peaked in autumn 1980, with the "Pathetique Convention" staged at the [[Electric Ballroom]].<ref name="Bushell"/> However, music critic Dave Thompson has said, regarding Splodgenessabounds' 1981 album: |
Bushell wrote that punk pathetique peaked in autumn 1980, with the "Pathetique Convention" staged at the [[Electric Ballroom]].<ref name="Bushell"/> However, music critic Dave Thompson has said, regarding Splodgenessabounds' 1981 album: |
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{{cquote|Music historians find their attention drawn to "We're Pathetique", Splodge's rallying call for a musical genre which precious few people even remember today. But the punk pathetique movement spawned not only Splodge, but also such joys as the Toy Dolls and Peter and the Test Tube Babies, and it still has an impact today.<ref>{{cite web | url = {{ |
{{cquote|Music historians find their attention drawn to "We're Pathetique", Splodge's rallying call for a musical genre which precious few people even remember today. But the punk pathetique movement spawned not only Splodge, but also such joys as the Toy Dolls and Peter and the Test Tube Babies, and it still has an impact today.<ref>{{cite web | url = {{AllMusic|class=album|id=r49905|pure_url=yes}} | title = ''Splodgenessabounds'' album review | access-date = 2006-07-07 | author = Dave Thompson | publisher = allmusic.com }}</ref>}} |
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Other punk pathetique bands included [[Television Personalities]],<ref>{{cite web |url=http://www.thevinyldistrict.com/storefront/2015/03/graded-on-a-curve-television-personalities-are-we-nearly-there-yet/ |publisher=The Vinyl District |title=Graded on a Curve: Television Personalities, Are We Nearly There Yet? |author=MICHAEL H. LITTLE |date=March 20, 2015 | |
Other punk pathetique bands included [[Television Personalities]],<ref>{{cite web |url=http://www.thevinyldistrict.com/storefront/2015/03/graded-on-a-curve-television-personalities-are-we-nearly-there-yet/ |publisher=The Vinyl District |title=Graded on a Curve: Television Personalities, Are We Nearly There Yet? |author=MICHAEL H. LITTLE |date=March 20, 2015 |access-date=August 17, 2020}}</ref> [[Half Man Half Biscuit]], [[The Shapes (UK band)|the Shapes]], the Gonads,<ref>{{cite web |url=http://www.fearandloathingfanzine.com/the-shapes.html |publisher=Fear and Loathing Magazine |title=The Shapes |access-date=August 17, 2020}}</ref> [[the Adicts]],<ref>{{cite web |url=https://www.sunderlandecho.com/news/review-adicts-albums-1982-87-boxset-213667 |title=Review: The Adicts - The Albums 1982-87 boxset |date=November 15, 2018 |access-date=August 17, 2020 |publisher=Sunderland Echo}}</ref> [[Notsensibles]], Auntie Pus, the Postmen, Desert Island Joe, the Hoopers, Pierre the Poet (Garry Butterfield), Paul Devine, Lord Waistrel & the Cosh Boys, Stephen Louis Knoche Jr & His Raging Cronies, the Alaska Cowboys, Patronage, Percy Throwers Man Eating Plans, SexyCows, the Orgasm Guerrillas, the Implications, and Doughnut & the Donor. Later, the mantle was inherited by the [[Bus Station Loonies]], Monkish and [[Macc Lads]], who performed comic punk singalongs in very much the same style. Toy Dolls, Peter and the Test Tube Babies, the Gonads, Splodgenessabounds and Auntie Pus & The Men From Uncle continue to tour and record. |
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== Fun-Punk== |
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In Germany, the similar '''Fun-Punk''' genre emerged in the mid-1980s as a response to hardcore punk, which at that time was marked by political correctness and negative imagery.<ref>''Punk Rock BRD'' 1, Begleitheft</ref> Fun-Punk often dealt with absurd themes or alcohol and drug excesses. An early pioneer was [[Normahl]], later followed by [[Die Ärzte]], [[Die Goldenen Zitronen]] and [[Wizo]].<ref name="Taugenix Nr.4">''Taugenix'', Fanzine Nr. 4, Interview with „Die Frohlix“</ref> |
In Germany, the similar '''Fun-Punk''' genre emerged in the mid-1980s as a response to hardcore punk, which at that time was marked by [[political correctness]] and negative imagery.<ref>''Punk Rock BRD'' 1, Begleitheft</ref> Fun-Punk often dealt with absurd themes or alcohol and drug excesses. An early pioneer was [[Normahl]], later followed by [[Die Ärzte]], [[Die Goldenen Zitronen]], [[Die Kassierer]], and [[Wizo]].<ref name="Taugenix Nr.4">''Taugenix'', Fanzine Nr. 4, Interview with „Die Frohlix“</ref> |
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== References == |
== References == |
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[[Category:Punk rock genres]] |
[[Category:Punk rock genres]] |
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[[Category:English styles of music]] |
[[Category:English styles of music]] |
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[[Category:British rock music genres]] |
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Latest revision as of 18:26, 3 January 2025
| Punk pathetique | |
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| Stylistic origins | |
| Cultural origins | Late 1970s, England |
| Regional scenes | |
| East End of London | |
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| Garry Bushell - Sounds magazine - working class | |
Punk pathetique is a subgenre of British punk rock (principally active circa 1980–1982) that involved humour and working-class cultural themes.[1]
Origin
[edit]The name of the genre was coined by Sounds journalist Garry Bushell, who actively championed many of its exponents. Punk pathetique was initially an attempt to characterize a group of London bands that embodied Cockney culture with a Dickensian working class attitude. Musically, it was related to (and had crossover with) the Oi! subgenre. The cover of the 1980 Bushell/Sounds compilation album Oi! The Album described the record as featuring "ruck 'n' rollers and punk pathetiques".[2]: 393 In contrast to harder-edged Oi! bands with more serious lyrics, punk pathetique bands focused on the naughty, silly and trivial. Max Splodge of Splodgenessabounds said: "The pathetique bands are the other side of Oi! We're working class too, only whereas some bands sing about prison and the dole, we sing about pilchards and bums. The audience is the same".[1]
Some punk pathetique bands had notable success in the UK charts. Toy Dolls reached No. 4 in December 1984 with "Nellie the Elephant". Splodgenessabounds reached No. 7 in 1980 with "Simon Templar," and No. 26 with "Two Little Boys" later that year. According to Bushell:
During 1980, hooligan audiences, especially in South East London, found new live laughs in the shape of Peckham-based piss-artist pranksters Splodgenessabounds, whose brand of coarse comedy and punk energy scored three Top 30 singles that year. Their debut single, "Two Pints of Lager and a Packet of Crisps Please" was a Top 10 smash. Tongue in cheek, I dubbed them "punk pathetique" along with equally crazy bands like Brighton's Peter and the Test Tube Babies and Maccam jesters the Toy Dolls.[1]
Peter and the Test Tube Babies were first featured in Sounds in July 1980, and made their vinyl debut on Oi! The Album later that year. They favoured absurd lyrics and strange titles, such as "The Queen Gives Good Blow Jobs" and "Elvis Is Dead (He Was 42 and a Fat Cunt)".[2]: 348 Toy Dolls, based in Sunderland, shared the punk pathetique approach to nonsensical entertainment. Toy Dolls singer Michael "Olga" Algar told Sounds in March 1980: "We're a new wave group, but we're not serious. All our songs are pretty childish and infantile, but they're all based on things and people 'round here".[2]: 312
Bushell wrote that punk pathetique peaked in autumn 1980, with the "Pathetique Convention" staged at the Electric Ballroom.[1] However, music critic Dave Thompson has said, regarding Splodgenessabounds' 1981 album:
Music historians find their attention drawn to "We're Pathetique", Splodge's rallying call for a musical genre which precious few people even remember today. But the punk pathetique movement spawned not only Splodge, but also such joys as the Toy Dolls and Peter and the Test Tube Babies, and it still has an impact today.[3]
Other punk pathetique bands included Television Personalities,[4] Half Man Half Biscuit, the Shapes, the Gonads,[5] the Adicts,[6] Notsensibles, Auntie Pus, the Postmen, Desert Island Joe, the Hoopers, Pierre the Poet (Garry Butterfield), Paul Devine, Lord Waistrel & the Cosh Boys, Stephen Louis Knoche Jr & His Raging Cronies, the Alaska Cowboys, Patronage, Percy Throwers Man Eating Plans, SexyCows, the Orgasm Guerrillas, the Implications, and Doughnut & the Donor. Later, the mantle was inherited by the Bus Station Loonies, Monkish and Macc Lads, who performed comic punk singalongs in very much the same style. Toy Dolls, Peter and the Test Tube Babies, the Gonads, Splodgenessabounds and Auntie Pus & The Men From Uncle continue to tour and record.
Fun-Punk
[edit]In Germany, the similar Fun-Punk genre emerged in the mid-1980s as a response to hardcore punk, which at that time was marked by political correctness and negative imagery.[7] Fun-Punk often dealt with absurd themes or alcohol and drug excesses. An early pioneer was Normahl, later followed by Die Ärzte, Die Goldenen Zitronen, Die Kassierer, and Wizo.[8]
References
[edit]- ^ a b c d Garry Bushell. "The Story of Oi!". garry-bushell.co.uk. Archived from the original on 24 June 2006. Retrieved 7 July 2006.
- ^ a b c Gimarc, George (2006). Punk Diary 1970-1982. San Francisco: Backbeat Books. ISBN 0-87930-848-6.
- ^ Dave Thompson. "Splodgenessabounds album review". allmusic.com. Retrieved 7 July 2006.
- ^ MICHAEL H. LITTLE (20 March 2015). "Graded on a Curve: Television Personalities, Are We Nearly There Yet?". The Vinyl District. Retrieved 17 August 2020.
- ^ "The Shapes". Fear and Loathing Magazine. Retrieved 17 August 2020.
- ^ "Review: The Adicts - The Albums 1982-87 boxset". Sunderland Echo. 15 November 2018. Retrieved 17 August 2020.
- ^ Punk Rock BRD 1, Begleitheft
- ^ Taugenix, Fanzine Nr. 4, Interview with „Die Frohlix“