Punk pathetique is a subgenre of British punk rock (principally active circa 1980-1982) that involved humour and working class cultural themes.

The name of the genre was coined by then-Sounds journalist Garry Bushell, who actively championed many of its exponents. Punk pathetique was initially an attempt to characterize a group of London bands that embodied Cockney culture with a Dickensian working class attitude. Musically it was related to, and had crossover with, the Oi! subgenre. The cover of the 1980 Bushell/Sounds compilation album Oi the Album described the record as featuring "ruck 'n' rollers and punk pathetiques". In contrast to harder-edged Oi! bands with more serious lyrics, punk pathetique bands focused on the naughty, silly and trivial. Max Splodge, of Splodgenessabounds, said: "The pathetique bands are the other side of Oi! We're working class too, only whereas some bands sing about prison and the dole, we sing about pilchards and bums. The audience is the same."

Some punk pathetique bands had notable success in the UK charts. Toy Dolls got to #4 in December 1984 with "Nellie The Elephant." Splodgenessabounds reached #7 in 1980 with "Simon Templar," and #26 with "Two Little Boys" later that year. According to Bushell:

Glenn Herbert Gould (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the 20th century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach’s music.

Gould rejected most of the standard Romantic piano literature and, after his adolescence, avoided Liszt, Schumann, and Chopin. Although his recordings were dominated by Bach, Gould's oeuvre was diverse, including works by Beethoven, Mozart, Haydn, Brahms, pre-Baroque composers such as Jan Sweelinck, and such 20th-century composers as Paul Hindemith and Arnold Schoenberg. Gould was well known for various eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and personal behavior. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.

Arturo Márquez (born 20 December 1950) is a Mexican composer of orchestra music who uses musical forms and styles of his native Mexico and incorporates them into his compositions.

Márquez was born in Álamos, Sonora, in 1950 where his interest in music began. Marquez is the first born of nine children of Arturo Marquez and Aurora Marquez Navarro. Marquez was the only one of the nine siblings who became a musician. Marquez's father was a mariachi musician in Mexico and later in Los Angeles and his paternal grandfather was a Mexican folk musician in the northern states of Sonora and Chihuahua. Because of Marquez's father and grandfather, he was exposed to several musical styles in his childhood, particularly Mexican "salon music" which would be the impetus for his later musical repertoire.

In his late childhood the family immigrated to Southern California settling in La Puente, a suburb of Los Angeles. There he attended Fairgrove Junior High school and William Workman High School. In junior high school he began to play the trombone under the direction of Mr. Rossetti, the school's band director, and continued playing in high school. While living in La Puente he started formal studies in music enrolling in violin and trombone lessons. He had started piano studies in Alamos, Sonora and when the family immigrated to the U.S. he continued more extensive piano lessons in the home of Mrs. Eva McGowan, a local piano teacher. He started composing at the age of 16 and then attended the Mexican Music Conservatory where he studied with Federico Ibarra, Joaquín Gutiérrez Heras and Héctor Quintanar. Márquez was then awarded a scholarship by the French government to study composition in Paris with Jacques Casterede. Subsequently, in the U.S., he was awarded a Fulbright Scholarship and obtained a MFA in composition from California Institute of the Arts in Valencia, California. There he studied with Morton Subotnick, Mel Powell, Lucky Mosko, and James Newton.