Punk music in the context of "DIY ethic"

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⭐ Core Definition: Punk music

Punk rock (or simply punk) is a subgenre of rock music that emerged in the mid-1970s. Rooted in 1950s rock and roll and 1960s garage rock, punk bands rejected the overproduction and corporate nature of mainstream rock music. Typically producing short, fast-paced songs with rough stripped-down vocals and instrumentation and an anti-establishment theme, artists embrace a DIY ethic with many bands self-producing and distributing recordings through independent labels.

During the early 1970s, the term "punk rock" was originally used by some American rock critics to describe mid-1960s garage bands. Subsequent developments such as glam and pub rock in the UK, alongside the Velvet Underground and the New York Dolls from New York have been cited as key influences. By the mid-1970s, the term "punk rock" had become associated with several regional underground music scenes, including the MC5 and the Stooges in Detroit; Television, Patti Smith, Suicide, the Dictators, Richard Hell and the Voidoids, and the Ramones in New York City; Rocket from the Tombs, Electric Eels and Dead Boys in Ohio; the Saints and Radio Birdman in Australia; and the Sex Pistols, the Clash, the Damned and the Buzzcocks in England. By late 1976, punk had become a major cultural phenomenon in the UK, giving rise to a punk subculture that expressed youthful rebellion through distinctive styles of clothing, such as T-shirts with deliberately offensive graphics, leather jackets, studded or spiked bands, jewelry, bondage clothing and safety pins.

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Punk music in the context of Klezmer

Klezmer (Yiddish: קלעזמער or כּלי־זמר) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman (especially Greek and Romanian) music, Baroque music, German and Slavic folk dances, and religious Jewish music. As the music arrived in the United States, it lost some of its traditional ritual elements and adopted elements of American big band and popular music. Among the European-born klezmers who popularized the genre in the United States in the 1910s and 1920s were Dave Tarras and Naftule Brandwein; they were followed by American-born musicians such as Max Epstein, Sid Beckerman and Ray Musiker.

After the destruction of Jewish life in Eastern Europe during the Holocaust, and a general fall in the popularity of klezmer music in the United States, the music began to be popularized again in the late 1970s in the so-called Klezmer Revival. During the 1980s and onwards, musicians experimented with traditional and experimental forms of the genre, releasing fusion albums combining the genre with jazz, punk, and other styles. By the 1980s and 1990s the American revival spread to Europe and inspired a new interest in the genre in places such as Germany, France, Poland and Russia. A parallel tradition has also continued in Israel with such figures as Moussa Berlin.

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