A Quote by Ian Brown
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I remember being really young - being 13 or 14 - when I first was really excited about punk rock as an idea, and I was like, 'Don't ever not be punk. Don't ever not be punk.' Telling that to myself, I guess it was like self-defense against the scary world around me.
DEVO was like the punk band that non Punk America saw as Punk and so when people who were really into Punk rock would be walking around on the streets the jocks who learned about Punk through Devo would roll down their windows and yell at the Punks: 'HEY, DEVO!!'
For me, punk is about real feelings. It's not about, 'Yeah, I am a punk and I'm angry.' That's a lot of crap. It's about loving the things that really matter: passion, heart and soul.
The only punk that I really care about and am an expert on is the original punk of 1976 to 1979.
I don't think that the punk sound really became the punk sound until much later. The punk era wasn't really just one musical sound. There are a lot of differences among Television, the Ramones, and the Talking Heads.
Punk was key to the early part of me playing guitar. I was really into melodic punk-rock. I related to punk more than Lynyrd Skynyrd or Yes or Van Halen.
I was part of punk's second generation, so, not the first wave of '70s punk, but the American hardcore scene. I had a really strong love for music prior to that, but punk created a new template.
To begin with, the key principle of American indie rock wasn't a circumscribed musical style; it was the punk ethos of DIY, or do-it-yourself. The equation was simple: If punk was rebellious and DIY was rebellious, then doing it yourself was punk. 'Punk was about more than just starting a band,' former Minutemen bassist Mike Watt once said, 'it was about starting a label, it was about touring, it was about taking control. It was like songwriting; you just do it. You want a record, you pay the pressing plant. That's what it was all about.'
From the age of 14 onwards it was really punk rock, The Clash particularly. I think I learnt more from them than I did at school, because that got me into fashion, politics.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
There's an irony about making a film about punk because punk isn't supposed to have feature films made about it.
I am very grateful to punk because I was a girl, and I felt like if I got in a band, I'd be kind of a novelty act, but punk was all about non-discrimination. No one cared because it was punk, so, you know, anyone could do anything they wanted.
It seems like the powers that be are really trying to separate everything and really divide the genres and divide the trends. If you're metal and you don't sound like Slayer would sound now, then you're not metal. If you're punk rock and you don't sound like and preach about what The Sex Pistols would have preached about back in the day, then you're not really punk rock.
I started an all-girl punk band when I was 14, and I was the drummer, not the singer.
Punk's really cool because it's very inclusive of all types, which I like. And I would submit that even though people talk about punk as being thuggish, I think it can be more creative than other types of music.
When I was a young teenager, it was all about The Clash for me and that sort of English punk stuff. Then the Clash led me to all these other kinds of music: classic rock, Stevie Wonder, world music, and Brazilian music. I got serious about jazz when I was probably about 14 or 15.
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