By Rachel Brett, Reference Specialist
Among the fanzines on display in âPunk 1976-78â is a copy of Sideburns, featuring a diagrammatic representation of three chords, with the caption 'This is a chord - this is another - this is a third ... now form a band'.
Imagine this famous three-chord approach as a manifesto for life; it might look something like this:
- Committing to the destruction of old beliefs
- Accepting that we are alone and committed to create our own ideals and beliefs
- Living in accordance with these self-authored ideals while resisting the temptation to return to old ideal (in the words of Robin Ryde).
When we speak of punk then, you could argue that we are also speaking about a philosophy. We are still talking, and putting on exhibitions about, Punk because inside the record sleeve was the message: change is possible.
Brave New World
The first issue of Ripped and Torn created by Tony Drayton (Tony D) on display at Punk 1976-78 at the British Library until 2nd October
While the three points above read like a punk manifesto, it is in fact a summarisation of Friedrich Nietzscheâs conceptualisation of a âsupermanâ. Such beings would live by their own values, choices and beliefs, cast off old perceived habits and pre-given morals to ultimately lead a freer and more fulfilling existence.
This is an over simplification of an illustrious theory by Nietzsche, yet parallels can be drawn with the ethos of the punk spirit which was tantamount to the idea of change and autonomy. Punk wanted to rip it up and start again, and it wanted to do it for itself. If we want to consider the significance of punk, its legacy and intention beyond slogans perhaps then the German philosopher Nietzsche is just as germane as Joe Strummer.
This is not to connote punk was a preconceived philosophical gesture, rather it is offering a reflection on punkâs demand for change that became a shaping force within culture as demonstrated in the British Libraryâs exhibition. This however, raises a question - If art can be philosophically considered, why shouldnât pop music also be contemplated with philosophical curiosity?
Such outrageous posturing to situate punk within a philosophical proposition will provoke a loud disquiet in the crowd. What has punk got to do with philosophy? A brief glimpse into some of Nietzscheâs ideas may be thought provoking for the curious. Nietzsche loved music. Life without it he famously said isnât worth living. Music for him was an expression of the imagination, a dynamic power in the everyday world, an expression of a life changing force within all humans, a feeling and an emotional outburst, and anger after all is energyâŠ
Nietzsche considered musicâs function within Greek tragedy, which he understood as an artistic form born from the struggle between the gods Apollo and Dionysus. As a philosophical concept Dionysus denotes a primordial urge outside the rationality of instincts representing intoxication, excess, and a drive towards a transgression of limits. Nietzsche identified these aspects within non-representational art and specifically encapsulated within the power of music to covey suffering as a universal truth as opposed to an individual symptom.
In the modern world the rational reigns, while gods and myths are banished as the divine guiding principle for human existence. Nietzscheâs panegyric of Greek tragedy lies in his argument that such enlightenment had failed. Instead privileging a return to the subterranean impulse of the Dionysian spirit within music to exposes the depths of human experience beyond the rational.
Put another way, the unifying experience of music contains a potential for change to live creatively beyond the suffering of the human condition. Heck, sounds a bit punk to me!
Reproduced with kind permission of Â©Gary Neill
In 1886 Nietzsche raised the question âWhat would music have to be like if it were no longer Romantic in its origin, as German music is, but Dionysiac?â. Given his understanding of the Dionysian drive in music, I would propose it would be like Punk. This proposition was explored in the contemporary world by the artist Dan Graham in his work âRock my Regionâ. In this âvideo essayâ Graham drew out the ecstatic release within punk music and illustrated comparisons with the same release in religion and the Shaker movement.
Punk was a sonic and visual sign in an otherwise grey, over commercialised industry. It was the fly in the ointment, a critique of society, mass culture and of itself. That is to say of pop music. Perhaps punkâs greatest legacy is that it remains indefinable. What do we mean by punk? Everyone knows all the answers to this, donât they? Yet we still dispute it, maybe because punk demanded a change and while it was not the revolution McLarenâs King Mob dabblingâs aspired to, it did effect exactly what pop music could be, sound like and how it could be made and distributed.
Punkâs still got a job to do; only itâs going to take more than a guitar to do it. Better get out your philosophy books kids, thereâs an overdue revolution waiting to happen and perhaps Nietzsche and a bit of Greek Tragedy just might helpâŠ
Hey! Ho! Dionysus & Go!