Bad Brains sped up punk, helping to create hardcore

Before they became a legendary rap group, the New Yorkers played fast, scrappy hardcore in the style of Bad Brains. Still, they were fans of the explosion of hip-hop culture in their city and recorded a jokey track in 1983, which led to a record deal and conversion to hip-hop.

The DC hardcore band released the song "Straight Edge" in 1981, which detailed singer Ian MacKaye's decision to abstain from alcohol, drugs and promiscuous sex. The track inadvertently inspired legions of young hardcore kids to similarly declare themselves "straight edge," which eventually grew into its own subgenre.

The Minneapolis trio began as a lightning-fast hardcore band, but they slowly became more melodic than many of their early '80s peers without sacrificing their punk edge. That combination would eventually be called a mess of names: college rock, alternative, indie, and, eventually, grunge.

The Beach Boys' sunny sound profoundly influenced early punk acts, such as the Ramones, who took Brian Wilson's sugary hooks and ramped up the tempo. In the 1980s, 1990s, and 2000s, California pop-punk acts such as the Descendents, Green Day and Blink-182 continued the tradition.

The New York act was inspired by free jazz, electronic music, and performance art, playing loud, frenetic, and often abrasive music that reckoned with the horrors of the Vietnam War. On the hand-drawn poster for their first gig, they described the sound with four words: “Punk Music by Suicide.”

The Beach Boys' sunny sound profoundly influenced early punk acts like the Ramones, who took Brian Wilson's sugary hooks and ramped up the tempo.

The Seattle band’s second record, its first on a major label, went to number one four months after it was released in 1991. At one point, it was selling 300,000 copies a week. The band’s lead singer, Kurt Cobain, believed in punk’s countercultural aims and felt deeply conflicted about success.

The Seattle band's second record, its first on a major label, went to number one four months after it was released in 1991. At one point, it was selling 300,000 copies a week. The band's lead singer, Kurt Cobain, believed in punk's countercultural aims and felt deeply conflicted about the band's success and its ties to the success of "grunge," a subgenre he felt ambivalent about.

The band of three brothers from Detroit recorded a 1974 demo that predicted the punk explosion that would arrive just a few years later with the Ramones and the Sex Pistols. But the band, Death, were complete unknowns until collectors rediscovered their music in the 2000s.

When Creem Magazine's Dave Marsh wrote about seeing '60s garage rockers ? and the Mysterians perform, he remarked it would be unthinkable "to miss such a landmark exposition of punk-rock." The band isn't considered a punk band, but Marsh's description would go on to define other scrappy, back-to-basics acts.

Wipers began in Portland, Oregon in 1977, playing a form of punk rock that sounded darker and heavier than their contemporaries in New York, California, and England. The band remained an underground secret for years, influencing countless artists, including Nirvana's Kurt Cobain. "What more can I say about them?" he said in an interview. "They started Seattle grunge rock in Portland, 1977."

The style, which involves audience members thrashing their bodies into one another, evolved from “pogoing,” a style popular in England where listeners jumped up and down in place. The term “moshing,” sometimes called “slam dancing” in California, is believed to come from HR, the lead singer of Bad Brains.

Nirvana's breakout album inspired other major labels to hunt for similarly loud, countercultural bands. That led to a fascinating period in popular music that found defiantly anticommercial indie acts like the Melvins, the Butthole Surfers, and Ween (among many, many others) suddenly offered lucrative contracts.

The Detroit band is often considered “proto-punk” because their loud, dark, and distorted music helped establish a template for the punk explosion that came later. In 1970, rock writer Lester Bangs even used the word “punk” to describe the band’s frontman, Iggy Pop.

Punk sought to dismantle the self-importance of mainstream rock, favoring simple arrangements, short songs, and raw passion over sophistication or expertise. When the Buzzcocks struggled to find a label to release their debut record, “Spiral Scratch,” they took that do-it-yourself approach and applied it to business by releasing it themselves.

The band blended Warhol’s Pop Art with Beat poetry, early rock ‘n’ roll and the European avant-garde, creating a sound that was often chaotic, noisy and abrasive. The band’s debut album, “The Velvet Underground and Nico,” sold poorly, but (supposedly) everyone who purchased a copy started a band.

Ramones, Talking Heads, Television, Blondie, and many other bands got their start at CBGB. But its owner, Hillel “Hilly” Kristal, didn’t intend for it to be a punk rock venue. CBGB stood for “Country Bluegrass Blues,” though he included “OMFUG” (for “Other Music For Uplifting Gourmandizers”) on the venue’s marquee.

The band—formed by members of Minor Threat and Rites of Spring—was known for its innovative post-hardcore music and its high-minded ethics: They released albums themselves through the Dischord label, ensured all shows were $5 all-ages affairs, and refused to make merchandise to avoid commodifying their art. That didn’t stop bootleggers.

In the '80s, "grunge" was still not a widely used term, though there was a distinct sound coming from Seattle, one that blended punk and metal. C/Z Records decided to document the emerging sound in 1985 by releasing a compilation with six of the city's cutting-edge bands, including Green River, Melvins, and Soundgarden.

Hip-hop began in New York’s Bronx borough with the “back to school jam,” an August 1973 dance party hosted by Cindy Campbell and her brother, DJ Kool Herc, in their apartment building’s recreation room.

While it’s not technically the first hip-hop song set to record—that’s Fatback Band’s “King Tim III (Personality Jock)”—1979’s ”Rapper’s Delight” is the song that proved rap was worth putting on wax and introducing the music to a broader audience by reaching the US top 40.

Band members Jerry Casale and Mark Mothersbaugh were students at the Ohio university when the National Guard shot and killed student protestors. Casale said that the experience led them to pursue the project, which was a satirical critique of mindless consumerism and conformity.

The Beat Generation championed the transformative power of psychedelics, rebelled against the post-war social order, and called for more radical politics. With a strong foothold in San Francisco, it's no surprise these themes were carried over to the city's 1960s counterculture, informing the larger national hippie movement.

Acts like Black Flag, X, and Circle Jerks performed in unconventional venues like Madame Wong’s and the Hong Kong Cafe—restaurants in the city’s Chinatown neighborhood that became an integral part of the nascent scene.

The group often goes unmentioned in the history of punk rock, but its early 1960s records—featuring growling vocals, rudimentary guitars and a straight-ahead backbeat—foresaw the genre. Look no further than the 1964 track “Demolición.”

Inspired by eclectic artists like Sly and the Family Stone, as well as lesser-known mentors and peers in the Twin Cities, Prince blended R&B, rock, pop, new wave, soul, funk, punk, and more, creating a sound that defied easy categorization.

Although he's often called 'the Godfather of Punk,' Iggy Pop was over punk by 1977, just as the term was entering the mainstream. "It's a term that's based in fashion, style, elitism, Satanism, and everything that's rotten about rock 'n' roll," Pop told Canadian TV host Peter Gzowski.

The 1983 track “Beat Bop” features emcees Rammellzee and K-Rob rapping over a beat produced and arranged by Basquiat. Though it leans into several tropes from the early days of hip-hop, it’s also singular, with elements of dub, funk, and disco blending over its 10 minutes.

The movement—which pushed back on punk’s misogyny and argued for a countercultural form of third-wave feminism—began in self-published magazines before taking root in bands like Bikini Kill and Bratmobile. The scene’s music and ethos can still be found in contemporary acts like Olivia Rodrigo.

After "Born to Run," Springsteen's songwriting turned darker on subsequent albums "Darkness on the Edge of Town" and "The River," as he began exploring the harsher realities of adulthood and working-class life, but "Nebraska" was his most gothic, featuring haunted songs partially inspired by the abrasive proto-punk duo Suicide.

Hip-hop was born out of obscure samples, including many that were taken from the annals of jazz. That style was especially popular in rap's early eras, with the subgenre "jazz rap" becoming an accurate descriptor for New York groups like A Tribe Called Quest and Gangstarr.

In the 1980s, most attention focused on New York, the birthplace of hip-hop, and Los Angeles, the epicenter of its burgeoning gangsta variant. By the mid-90s, though, artists like Outkast, Master P, and Missy Elliott shifted the focus to the south.

Early hip-hop featured straightforward meter and rhyme, with rappers generally following the beat and using rhyming couplets in the style of nursery rhymes. MCs like Rakim, though, began pushing the limits of the form through varied stresses and dynamic, multisyllabic slant rhymes.

Dwight Yoakam was among the most popular country music acts of the 1980s, praised for his upbeat rockabilly and neo-Bakersfield sound. In this interview, Yoakam explains why he left the Midwest for California and began playing in punk clubs, including with an iteration of the legendary LA punk outfit X.

First editions of Burroughs’s "The Naked Lunch," Kerouac’s "The Dharma Bums," and Ferlinghetti’s "A Coney Island of the Mind" were just as notable for their text as they were for their design, which anticipated the psychedelic imagery of 1960s countercultural touchstones like Ken Kesey, Andy Warhol, and R. Crumb.

Fresh off the success of Nirvana's "Nevermind," band frontman Kurt Cobain reached out to his literary idol, the Beat writer William S. Burroughs, suggesting a collaboration. The correspondence led to "The 'Priest' They Called Him," a hard-to-find recording featuring Burroughs reading a story and Cobain on dissonant guitar.

When the Sex Pistols first ventured out to a small music hall in Manchester, only 40 people were in attendance. But, like the longtail influence of the first Velvet Underground album, the show's impact was massive: In the crowd that night were members of Buzzcocks, the Smiths, and Joy Division.

In the late 1940s, rock 'n' roll emerged from a mix of blues, country, gospel, and jazz. It gained traction through radio, rebellious icons, and evolving sound. This overview traces the genre's roots, rise, and lasting influence—from early pioneers to the British Invasion and beyond.

The poet’s debut album, released in 1975, blended literature and the early New York punk sound. Smith called the combination “three chords merged with the power of the word.” Throughout the album, she references and repurposes earlier rock hits (including Them’s “Gloria” and Chris Kenner’s “Land of 1,000 Dances”).

The Beat Generation challenged societal norms in the 1950s by embracing experimental writing and tackling taboo topics like drug use, spirituality, and nonconformity. Figures like Allen Ginsberg, Jack Kerouac, and Diane di Prima sparked a cultural movement that rejected traditional literary forms and explored the hidden struggles of American life.

Trouser Press magazine (originally Trans-Oceanic Trouser Press) was an influential publication that operated from 1974 to 1984. During that time, they ran cover stories on emerging acts like the Sex Pistols, the Clash, and others, offering contemporary readers a window into how punk was understood as it evolved.