Én is lusta vagyok leírni, ez az allmusic.com-ról van:
Punk:
Punk Rock returned rock & roll to the basics — three chords and a simple melody. It just did it louder and faster and more abrasively than any other rock & roll in the past. Although there had been several bands to flirt with what became known as punk rock — including the garage rockers of the '60s and the Velvet Underground, the Stooges, and the New York Dolls — it wasn't until the mid-'70s that punk became its own genre. On both sides of the Atlantic, young bands began forsaking the sonic excesses that distinguished mainstream hard rock and stripping the music down to its essentials. In New York, the first punk band was the Ramones; in London, the first punk band was the Sex Pistols. Although the bands had different agendas and sounds — the Ramones were faster and indebted to bubblegum, while the Pistols played Faces riffs sloppier and louder than the Faces themselves — the direct approach of the bands revolutionized music in both the U.K. and the U.S. In America, punk remained an underground sensation, eventually spawning the hardcore and indie-rock scenes of the '80s, but in the UK, it was a full-scale phenomenon. In the U.K., the Sex Pistols were thought of as a serious threat to the well-being of the government and monarchy, but more importantly, they caused countless bands to form. Some of the bands stuck close to the Pistols' original blueprint, but many found their own sound, whether it was the edgy pop of the Buzzcocks, the anthemic, reggae-informed rock of the Clash, or the arty experiments of Wire and Joy Division. Soon, punk splintered into post-punk (which was more experimental and artier than punk), new wave (which was more pop-oriented), and hardcore, which simply made punk harder, faster, and more abrasive. Throughout the '80s, punk was identified with the hardcore scenes in both America and England. In the early '90s, a wave of punk revivalists — led by Green Day and Rancid — emerged from the American underground. The new wave of punk rockers followed the same template as the original punks, but they tended to incorporate elements of heavy metal into their sound.
HC:
Hardcore Punk was the most rigid and extreme variation of punk rock. Emerging in the early '80s, hardcore took the ideals of punk as far as it could go. The music was impossibly fast, the vocals were shouted, the riffs were simple, and the records looked (and sounded) like they were made in someone's basement. Most of the bands sounded incredibly similar to each other, but there was a handful of distinctive bands; they usually developed musically quite quickly, leaving the sound of hardcore behind, but not its ideals. Hardcore punk was primarily an American sensation and was concentrated in Los Angeles and New York, but there were small, individual scenes scattered across the country. Hardcore kept going into the '90s without breaking into the mainstream, though bands influenced by the hardcore aesthetic — including Nirvana and Green Day — became major rock stars, and former hardcore punkers like Bob Mould, Henry Rollins, Mike Watt, Ian McKaye, and Dinosaur Jr.'s J Mascis became alternative icons.
Ha már szóba került, akkor Oi!:
By the end of the '70s, British punk was splintering into several distinct strains, most of them arty or ambitious in their own ways. Oi! music was an attempt to keep punk a populist, street-level phenomenon; most of it came from the Cockney working class of London's East End. Likely taking its name from the Cockney Rejects' 1980 song "Oi! Oi! Oi!" (before which it was simply known as street-punk), Oi! was loud, brutal, and extremely simple, with loads of shout-along, almost football-chant choruses. In essence, it was punk rock that was most at home in a rowdy pub. It was somewhat similar to hardcore, but not quite as extreme; Oi! stuck much more closely to the original punk blueprint laid out by the Sex Pistols and early Clash. In fact, critics frequently disdained the style for its punk-purist lack of adventurousness, and the way its political statements often replaced the Pistols' wit and intelligence with angry rabble-rousing. The latter wasn't universally true, but all the same, Oi! acquired a bad reputation when it was adopted by racist skinheads aligned with the neo-fascist National Front organization. Most bands (and skinheads) took pains to distance themselves from this unsavory element, especially after a number of violent incidents at live gigs; however, a few genuine white-supremacist bands (most notoriously Skrewdriver) were enough to give Oi! a stigma which it never completely shed. The band that brought Oi!/street-punk to prominence in 1978-79 was Sham 69, and they in turn gave career pushes to Oi! stalwarts like the Angelic Upstarts and the Cockney Rejects. The mid-'90s punk revival led to a renewal of interest in Oi!; many favorite early albums were reissued, and a number of new bands popped up both in the U.K. and overseas.
És a mai Ska:
The Third Wave of Ska Revival emerged in the late '80s, when certain members of the American punk underground began returning to the sounds of British ska revival and infusing it with a hardcore punk attack. During the early '80s, this third wave continued to grow — more bands continued to pop up across the country, but many of the most popular were based in California. As time wore on, the hardcore influences eventually mutated into heavy metal, much like hardcore punk itself. Eventually, the third wave of ska revivalists broke into the American mainstream, thanks to the success of fellow Californian punk revivalists Green Day and the Offspring. The first third wave band to break big was Rancid, but they were quickly followed by groups like No Doubt, Goldfinger, Sublime, and Dancehall Crashers; the Mighty Mighty Bosstones, who were one of the leading figures of the scene in the early '90s, just missed the commercial bandwagon. Most of the bands that followed Rancid into the charts emphasized metal over ska, but some — like No Doubt — drew from new wave pop roots as well, while Rancid themselves managed to stay true to both ska revival and punk. During 1996, the third wave of ska revival became one of the most popular forms of alternative music in the United States.