Humphreys 1

Kyle Humphreys

5/7/2018

Mass Media

The Progression of Punk Culture: Then and Now

It was a late night at The Silent Barn, a DIY venue in Brooklyn, November 2017. My friends and

I were surrounded and separated by sweaty strangers, jumping and pushing each other around to the

acoustics and vocals of AJJ’s Sean Bonnette (guitar) and Ben Gallaty (upright bass). A taller white guy

whipped his dreads into my mouth as he was moshing to the chorus of “Bad Bad Things”, two

complete strangers helped me up and asked if I was okay when I fell down, and I never thought I would

feel so unified in a room of strangers. These people surely lead different lives, but we all still seem to

resonate with lyrics such as:

I'm afraid to leave the house

I'm as timid as a mouse

I'm afraid if I go out I'll outwear my welcome (AJJ).

We can’t be all too different having shared this experience, this feeling. One could not possibly feel less

alone physically or emotionally as you shouted along that night. And that’s the beauty and power of

today’s punk music; it unifies people, be it as a whole or against the enemy. It’s this power that has

brought ideas of shared experience, humanism, and caring to turntables and speakers of today’s youth,

oppositional to the media’s idea that punk is apathetic and violent. Of course, these misconceptions

have to come from somewhere; punk as a culture was and is not always a bunch of people jumping

around at a show to shed the stress of the daily grind through their sweat and/or blood. Those that deny

punk’s potential to harbor chaotic moments and people fail to understand that nothing is black or white.
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Yet punk culture has changed and evolved with its musical and written mediums to spread powerful

moral and political messages meant to mobilize and inspire the new generation of punk.

Nobody really knows where the word “punk” first came from, but Mark Blake, writer for MOJO

Magazine says he first came across the word in 1971 in a US rock magazine called Creem. Dave

Marsh, writer for Creem, claims he coined the term “punk rock” in a review he wrote for the magazine

in late 1971. Yet it was supposedly Lester Bangs, another writer for Creem who really took the word

and kick-started the scene (MOJO 14). The more prominent areas of the scenes existed in California-

Hollywood and San Francisco (Doe 99). The sound also made its way to New York City (MOJO 8) and

the neighborhoods known for their counterculture streaks in Washington D.C (Andersen, Jenkins 3).

The print method of spreading this form of counterculture was born through the zine, short for fanzine.

These contained a mess of pictures, band interviews, comics, prose, and reviews. A popular one worth

noting is Cometbus, started in 1981 by Aaron Cometbus. Aaron Cometbus was an active member of the

punk scene, playing in numerous punk bands such as Pinhead Gunpowder, Thorns of Life, and

Cleveland Bound Death Sentence. Cometbus currently has 58 issues and can be purchased

commercially through Microcosm Publishing (Microcosm Publishing). Smaller zines have still had

their reach as well, such as King Maxwell’s “punk rock political art zine,” Snotrag. In volume two,

issue one of Snotrag, Maxwell prefaces his segments on segments on oppression, the exploitative

nature of capitalism, animal rights, and resistance, with his experiences with punk. There was also

PUNK mag, a zine esque magazine that began publication in 1975, about a year after punk became a

shapeless face. PUNK is largely responsible for really putting punk on the map and making it seem like

punk was going somewhere despite how new it still was (Holstrom 1, 7). PUNK contained interviews

with bands, reviews, and comics, all laced with a MAD-esque humor (14). Just as influential was the

DIY style zine Sniffin’ Glue by Mark Perry. Perry, says it was through his love for music that he found

punk (Robb 62). Armed with a typewriter, Perry put out issues of the “seminal punk fanzine” for about
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a year before he stopped. He was inspired after a clerk at a record store suggested he make his own

zine, seeing as the store didn’t have any on The Ramones or punk. He brought his first 50 copies to the

record store, which sold within a week. Shortly after its distribution, copycat versions cropped up and

the spread of punk continued. At its peak, Perry sold about 20,000 copies through any record store

selling punk records, even overseas (203-206). For a scene so new, 20,000 isn’t so bad.

Though PUNK takes a more playful approach to punk attitudes, bands of the time were hard

wired to be provocative. An often overlooked hardcore punk band, Aus-Rotten, formed later in the

punk scene, 1991. Their name is German and translates essentially to mass extinction of people (“AUS

ROTTEN INTERVIEW). Two of their more prolific songs are “The Second Rape” and “The System

Works For Them.” “The System Works For Them” sounds how you think it would lyrically, shouting

about how you can boycott the companies that drag people beneath them, but if you give into

consumerist culture they still win. “The Second Rape” is extremely in your face, starting out with a

statistic for rape. The lyrics point out that rape isn’t just a crime, it’s a cultural issue:

Every 45 seconds a woman is raped

Our sexist culture allows no escape

The is violent crime is far from obscurity

When the rate of victims is one in three

Society conditions men to be rapists

And our indifference perpetuates it

With derogatory language that tends to dehumanize

Making it easier for men to victimize (Aus-Rotten).

It’s this in-your-face provocative nature that defines punk. Songs can be progressive and not be punk.

Some punk musicians however are provocateurs in less desirable ways. Famous, or otherwise infamous

UK band The Sex Pistols, were a brief but sensational group, causing as much chaos as you can fit into
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their lifespan, which was just 1975-1978. The Sex Pistols had created a reputation for themselves, so

much to the point that two of their band members did not immediately receive visas for their 1978 US

tour (Mark). Earlier on in their career, they also made a foul mouthed television appearance in 1976

when punk was still a huge buzzword, getting into somewhat of a verbal skirmish with host Bill

Grundy. It was this incident that kick started their stardom (Robb 259). In 1976 they tried to tour the

UK, yet their reputation as punks caused all but four of their shows to be canceled (264). John Lydon of

The Sex Pistols believes any band that came after theirs were a bunch of “copycat wankers” (97).

Given the aggressive and anarchistic nature of punk, it was inevitable that ideas like fascism and

homophobia would permeate the culture. Anarchist punks were anti-authority and utilized radical

tactics that survive through today’s Black Bloc, anarchists who wear all black and take social and

institutional issues into their own hands with direct action perceived as violence and vandalism. Their

targets are often police and those who seek to benefit from laws and actions that harm the common man

(St. John). But being that their enemy was authority, this shifts them more left politically given that

their ideas are not conservative in nature (Ward 161). Skinheads were not rare sights at punk shows,

getting into fights with other audience goers and acting violently towards artists and musicians (Robb

430-431). Television show New Wave Theatre (1979-1983) attempted to “lessen confusion” and “bring

humankind closer,” but their host Peter Ivers often heightened feelings of conflict and homophobia

(Stiffler 44). Early punk also had aesthetic traces of Nazism, with some artists donning the symbols and

writing with blatant references to Nazism, such as The Sex Pistols’ “Belsen Was a Gas” (Ward 160).

However loud the minority, the majority was ready to fight back. A great example of ways punk culture

fought back would be the Dead Kennedys’ rapid paced hardcore song, “Nazi Punks Fuck Off”, a direct

callout to Nazi punks:

You still think swastikas look cool

The real Nazis run your schools

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They're coaches, businessmen and cops

In a real Fourth Reich you'll be the first to go

Nazi punks

Nazi punks

Nazi punks

Fuck Off! (Dead Kennedys).

In the UK, an anti-racist music rally took place on April 30th, 1978, called Rock Against Racism.

Among other punk bands, David Bowie made an appearance in Victoria Park that day. This was largely

in response to the right wing party, The National Front, rising in popularity and worming its way into

punk culture. (Robb 430).

Punk always seems to have resonated with younger generations. This isn’t to say punk music has

older fans (my uncle will profess his admiration to this day for The Ramones & Me First and the

Gimmie Gimmies), but punk’s appeal has always been that it is counterculture. Whatever is mainstream

at any given time, punk culture is not that. Punk from the beginning was always structured to be

provocative, the aesthetics just as important as the lyrics and sound. To some, it’s patches on denim

vests that were once jackets. To some, it’s head to toe leather and spikes and zippers. But at the core of

punk has always been a disdain for oppressors. Today’s punk has more of an emphasis on humanity and

making the world a better place to spite oppressive forces. It’s small, but such efforts can make a world

of difference if you do it right. Jeff Rosenstock is a fantastic example of modern punk’s gentler .nature.

A song writer for the late punk band Bomb The Music Industry (Tumblr), Rosenstock recently released

a solo album titled -POST, his self-described “emotionally hazy” attempt at coping with the new reality

of the Trump Administration and helping others to do the same (Downing). Ian Cohen from recognized

and renowned music review hub Pitchfork considers Jeff “...one of the most important figures in

modern punk...” and claims -POST is his magnum opus (Cohen). While this may be subjective, there is
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no doubt Jeff is spreading some emotionally charged messages. In the second track, “USA”, Jeff sings

his disappointment and dismay following the election:

Dumbfounded, downtrodden and dejected

Crestfallen, grief-stricken and exhausted

Trapped in my room while the house was burnin'

To the motherfuckin' ground (Jeff Rosenstock).

This verse followed by lyrics in which he describes how it feels like things no longer matter, and how

people are tired of the cries for change to the point they repress those voices. “TV Stars” takes a more

direct dig at Trump and his supporters, the lyric “TV Stars don’t care about who you are” emphasizing

Trump’s lack of care for the common man. The closing song, “Let Them Win”, is paced in a manner

that suggests exhaustion, but the lyrics and affect suggest Rosenstock is not ready to let the forces of

the administration and conservative agenda win over him and the people he cares about. Rosenstock

refuses to be all talk and no action however- 10% of proceeds from this release have gone to a charity

that aims to benefit Puerto Rico (Bandcamp). To people more right from center, they may feel he is

overreacting to the presidency. But Rosenstock is a being with a lot of empathy for those who suffer; in

an interview with Noisey’s Dan Ozzi, Jeff says, “I think I just try to be truthful about how I feel. I’m a

person who would like to see a lot of changes...” (Ozzi). Rosenstock also sings of greater human griefs

that don’t get addressed often enough. A particularly moving track, “...While You’re Alive”, from his

album WORRY. talks about his desire and passion to tell people in his life that he loves them now

before they take their life:

I wanna let you know while you're alive

Because everybody loves you when you die

But when it matters

they're not there, not there (Jeff Rosenstock).

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And his pain is all too real for so many; in 2016, the CDC found suicide as the second leading cause of

death among people ages 10 to 34 in the United States, only beaten out by fatal accidents (NIMH). It’s

not easy to measure the impact of his message in “...While You’re Alive”, but I can personally attest to

it inspiring me to tell people in my life that I love them very much. I feel we tend to not get “meta”

with our interpersonal relationships by discussing the dimensions or feelings attached, and it can make

such a difference if you do. Another album, We Cool? hosts a song, “Nausea” about the anxieties of

growing older, and how it’s exhausting to feel you need to prove your usefulness as a productive

member of society to those around you. It’s the relatability of his lyrics that has given him such a strong

young audience.

In his aforementioned interview with Noisey, Jeff credits other bands signed to SideOneDummy,

a popular punk record label, that he has toured with and shared success with. One of those bands was

AJJ (Ozzi). AJJ, formerly known as Andrew Jackson Jihad, is a punk band from Arizona with heavy

folk influences, making for a very unique sound. The name change was announced on Facebook, citing

them not being of Muslim faith and not liking president Andrew Jackson as their reasoning (Anthony).

AJJ has been well known for their blunt attitudes, harboring a vendetta against Maricopa county’s Joe

Arpaio strong enough that they wrote a whole song about him, boldly titled “Joe Arpaio is a Punk.”

Bolder so is the line in which Sean calls Arpaio a “racist fuck,” and states that he wishes Arpaio were

dead. Joe Arpaio is so infamous that a group of advocates bought the domain www.arpaio.com solely to

broadcast his horrible deeds (Arpaio.com). He is well known for his cruel treatment of inmates at the

Maricopa County jail, forcing them to wear striped uniforms, along with pink socks and underwear.

Before he left his position, his mission was to stop illegal immigrants, and he targeted them

specifically. He also established “Tent City”, a series of tents on concrete fenced in, housing 1,700

inmates at its peak. On warmer days in Tent City, it could reach 130 degrees Fahrenheit (Fernández). In
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another song, “This Is Not a War”, Sean Bonnette sings in solidarity with protesters during Occupy

Wall Street during the 2011 demonstration (HarmonyJoyride):

This is not a war

It's a conversation about what people really need

Fear is a poison

It breeds violence

And apathy and greed

So people occupy the streets

So they can occupy the hearts of the fearful (AJJ).

He makes a metaphor comparing the movement to an immune system, and big business to a disease.

He compares the ways we have tried to deal with this disease to phony home cures like vitamins and

Echinacea (AJJ). And as I mentioned earlier, their stage presence and demeanor make for amazing

shows. Sarah Tanori talks about her experience at an AJJ show in 2015 and offers a needed perspective

for those not familiar with AJJ:

The performance wasn't about some pretentious band of musicians who think they're sad yet cool

and want the world to know. It was about a band of musicians who live and breathe the feelings

that they write about. It was refreshing to watch a band not trying to give off some try-hard vibe

(Tandori).

But AJJ doesn’t just play music for what they believe in, AJJ tries to get their listeners involved. In

February of this year, AJJ worked with the Democratic Socialists of America to get people at their

show in Miami to register to vote. A table was set up, and numerous people at the show that night

registered to vote (@AJJtheBand). Sean also sells stickers on his Etsy page of Donald Trump with

snakes coming out of his eyes, and at one point had an original piece of Calvin peeing into Trump’s
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mouth as he pleasured himself. All proceeds for the art went to the buyer’s choice of Planned

Parenthood, The ACLU, The NAACP, or The Trevor Project (Bonnette).

Nobody may hate Trump more than Green Day, however. Well known for their politically

powered album, American Idiot (MOJO 264), Green Day put out a music video for their new album

Revolution Radio in 2017. The visuals for “Troubled Times” have a DIY flair, showing photo clippings

of racially segregated spaces, people voting and protesting as the band members play on a violently

rocking scale. Trump is depicted with wild hair and sharp teeth in the shape of KKK hoods, waving his

arms wildly as a barbed wire fence is erected. A hand sends images representative of social progress

over the years (voting rights for women & people of color, job equality) into a trash can, and at the end

of the music video sets off a nuclear explosion. To Green Day, a Trump Presidency spells disaster for

everyone, and they aren’t afraid to be vocal about it (Green Day). Their singer, Billie Joe Armstrong

says on stage to an audience of 18,000 on March 15th, 2017:

This is not about who’s conservative and who’s liberal, or what race you are. This is not about

what religion you are, or if you’re an atheist. This is about being together, everybody, here,

tonight. We’re going to leave all this shit behind us. We’re going to rub up against each other.

We’re going to look each other in the eyes. We’re going to sing together. We’re going to dance

together. We’re going to fucking cry together. Goddamnit, this is an experience — and it’s all

about unity (Hughes).

One of the more prolific individuals of today’s punk however is Laura Jane Grace. Laura Jane

Grace is the openly transgender singer and songwriter of Against Me!, a punk band she formed in

Gainesville, Florida in 1997. Fans decried her and her bandmates as sellouts when they switched labels,

but she still maintains a strong following, especially following the Rolling Stones feature in which she

came out (Snapes). From the beginning, many of her songs were laced with lyrics alluding to her

struggles with her gender identity, but it wasn’t until she released Transgender Dysphoria Blues that
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she made her feelings and experiences more blatant. The first song in the album talks about her

experiences trying to be seen as a woman:

Your tells are so obvious,

Shoulders too broad for a girl.

It keeps you reminded,

Helps you remember where you come from.

You want them to notice,

The ragged ends of your summer dress.

You want them to see you

Like they see every other girl.

They just see a faggot.

They'll hold their breath not to catch the sick (Against Me!).

“Paralytic States” is a song about how she would stay in hotel rooms to live her life as a woman, which

is made clear in her interview with MTV. The lyrics tell of a distressed trans woman in a hotel who sees

the reflection of her mother’s son, and in her interview, Grace says, “I couldn't exist as a woman in

hotel rooms by myself and then come home and pretend to be someone else, I'd end up killing myself"

(Montgomery). The album is heavily laden with her struggles, and for many other trans youth out there

her visibility and openness about her identity can make all the difference. To see that trans people can

be successful and visible in a time of trans violence gives trans youth hope. In 2017, 28 known

transgender individuals were murdered, and at the time of writing this paper, 8 known transgender

individuals have been murdered, and they are all trans women (HRC). In a survey conducted by

GLSEN of 150,000 transgender students in primary school, 75% of those surveyed felt unsafe at school

because of their gender expression. 70% of those surveyed also avoided using the bathrooms due to
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feeling unsafe or uncomfortable (GLSEN). Being transgender, punk music has always been a refuge for

Grace. In an NPR Interview, she shares what drew her to punk music and culture:

...one of the very appealing things to me about the punk rock world when I was, like, 15, 16,

especially stumbling onto, like, anarchist punk rock and activist punk rock. And, you know, a

scene that was really strongly feminist and anti-racist and anti-homophobia, anti-transphobia, all

about body liberation, all about, like, you know, just being yourself (Gross).

She was faced with a challenge in May of 2016 when she was playing a show in North Carolina,

shortly after the announcing of the bathroom bill, HB2. She said, “Fighting that ignorance is why I put

myself out there the way I do – and that was the point of still doing the show.” It was also at this show

she lit her birth certificate on fire before the audience (Singal).

Punk culture would not have been able to spread without the use of music and written media. To

quote King Maxwell:

...music and art represent the real avenues of change. I think that most people grow and learn new

things by having come in contact with interesting people and with art. Music is a uniquely

powerful method of persuasion (Maxwell 2).

Love it or hate it, punk will not be going anywhere anytime soon. It may not have the same kind of

impact or influence that corporate deals with politicians possess, but punk music lets people know they

aren’t alone in this; nobody is alone in their desire for change or feelings of distress in the face of

human error or simply being. Music has always been a way of spreading messages and sharing

emotions, and punk music tries to utilize it in the best way possible. And thanks to technology like the

internet, punk can now reach a wider audience and evolve even more.
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