"The period right before punk rock where people like Lou Reed and Iggy Pop were really strong"
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That little slice of time "right before punk" gets mythologized because it solves a problem in rock history: how to explain the rupture without pretending it came from nowhere. Arto Lindsay is pointing to a hinge era when the mainstream story was bloated with virtuosity and arena-scale self-seriousness, yet a different current was already sharpening its knives. Lou Reed and Iggy Pop weren’t punk in the strict, three-chords-and-safety-pins sense; they were proof-of-concept. They made ugliness feel intentional, boredom feel like critique, and confrontation feel like style.
The phrase "really strong" is doing cultural work. It’s not just praise; it’s a claim about force. Reed’s deadpan narrators and taboo urban realism, Iggy’s self-mutilating physicality and animal charisma: both treated the rock star not as a hero but as a damaged instrument. That’s the pre-punk sensibility Lindsay is naming - an aesthetic of refusal before it had a brand.
Subtextually, it’s also an insider’s map of lineage. Lindsay came up in the downtown New York ecosystem that fed off art-school minimalism, no-wave abrasion, and anti-commercial texture. By spotlighting Reed and Iggy, he’s positioning punk less as a sudden youth rebellion and more as an inheritance from artists who were already attacking the idea of rock as entertainment. The intent isn’t nostalgia; it’s a reminder that revolutions arrive as mood first, movement second.
The phrase "really strong" is doing cultural work. It’s not just praise; it’s a claim about force. Reed’s deadpan narrators and taboo urban realism, Iggy’s self-mutilating physicality and animal charisma: both treated the rock star not as a hero but as a damaged instrument. That’s the pre-punk sensibility Lindsay is naming - an aesthetic of refusal before it had a brand.
Subtextually, it’s also an insider’s map of lineage. Lindsay came up in the downtown New York ecosystem that fed off art-school minimalism, no-wave abrasion, and anti-commercial texture. By spotlighting Reed and Iggy, he’s positioning punk less as a sudden youth rebellion and more as an inheritance from artists who were already attacking the idea of rock as entertainment. The intent isn’t nostalgia; it’s a reminder that revolutions arrive as mood first, movement second.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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