“He who joyfully marches in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would suffice.”
-Einstein
In the year 2001, suicide was the eleventh leading cause of death amongst American citizens (NIMH, 2001). Even more disturbing, it was the third leading cause of death among teenagers in the United States (NIMH, 2001). While numerous causations resulted in these incidents, the one common element amongst them is that, in most cases, these adolescents felt some form of isolation or rejection. Considering the fact that “belonging” is one of the most basic human needs, rejection from peers, or any feeling of not “fitting in”, can prove to be significantly psychologically harmful. Especially during the fragile stage of adolescence, deviance, in any form, is thought to be an undesirable characteristic and an unwanted label.
Yet, while so many struggle to “fit in”, there is a minority of adolescents who work to do just the opposite. These individuals make a concerted effort to appear as deviant as possible. Unlike the “norm”, these individuals act in prevention of conforming to any socially accepted mainstream group. Yet, is there anything constructive to be found in such an allegedly destructive way of life? For on, there is irony in the fact that while these particular individuals work so tirelessly to be “non-conformists” and avoid inclusion in ANY group, they inadvertently have created their own society in which they all belong. This society is known as the “PUNK SUBCULTURE”. For what is considered to be a deviant society, it is a culture that has actually saved the lives of many who have fallen victim to a larger pop culture that has rejected or greatly disappointed them.
“Punk 101″
The punk subculture originated in New York City during the late 1960’s and early ’70’s. The appropriately named “New York Dolls” and “The Ramones” gave birth to this new musical style. While most mistake this movement to have culminated in London, it simply caught on more quickly and intensely there. Yet, ironically, their native heroes of punk, “The Sex Pistols”, became one of America’s biggest punk rock icons. The angry, almost unrecognizable rantings of these bands wreaked of individuality, screamed of rebellion, and preached concepts such as anarchy. Today, a more commercialized, and perhaps “watered down”, homogenized brand of punk rock graces the contemporary music scene. Bands such as Hole and Nirvana incorporate a type of “grunge” rock with the classic punk attitude. Meanwhile, others like Green Day are simply a tamer version of the original straight punk bands.
The punk subculture has recently come back into media attention with the death of two of its forefathers: Joey and DeeDee Ramone. While this society has undergone many transformations throughout the years, its basic philosophy has stayed in place, as well as (for the most part) those attracted to its ambience. Nowadays, while hardcore straight punk bands are hard to find there are many new bands that undeniably find their roots in the “old school” punk rock of yesteryear. They continue to further punk culture through their own music. Often hybrids of punk and new wave, punk/grunge, or punk/pop, these bands still undeniably represent the classic punk attitude. However, the “misconceptions” plaguing this sector of society have remained intact, as well.
Those not familiar with punk culture have viewed this “scene” as a group of dirty, out of control, lower class youths. Both punk music and its followers were thought of as angry, hateful, violent, racist, self-destructive, pro-drug, and down right CHAOTIC. The “All Music Guide” describes the music of the famously punk band, “The Sex Pistols”, as “irreverent, harsh, raucous, snide, confrontational, bitter, and volatile”(The All Music Guide, 2001). The clothing, as well, cries for attention and thrives on shock value. In addition the lives (and deaths) of some of punk’s most notorious icons has done nothing to deter the negative connotations that hunt this culture. Perhaps, the most renowned is John Simone Ritchie (a.k.a. “Sid Vicious”) of “The Sex Pistols”, who fatally stabbed his girlfriend amidst a drug binge, after she repeatedly begged him to take her out of her misery and do so. Four months later, unable to live without her, he injected himself with a lethal dose of heroin. Yet, despite these first impressions of this societal subgroup (which are not necessarily completely accurate), there lies the possibility that something more meaningful coexists here. Perhaps, if examined closely enough, one can find that there actually does exist some organization within chaos.
The Demographics
So, who are these people that no only buy these CD’s, but live their creed? For a short time, yesteryears’s punk subculture consisted of a lower income, working class, underprivileged, youth demographic. Yet, the population has now evolved into a culture of predominantly white, middle class adolescents. They are often profiled as introverted, shy, possibly socially inept students who are rejected, neglected, or even ridiculed by their peers (altcult, 2001). They may be what some would call “geeks” or “freaks”, and in most cases, initially attempted to dress “hip” and participate in only the most socially desirable activities. Yet, after repeated attempts to gain popularity and become “mainstream” prove unsuccessful, they give up and live up to the label of “deviant” (often synonymous with “undesirable”) that society has cast on them.
As consistent with the Labeling Theory, after being labeled as such, it is a difficult title to “shake” once branded. It is also a common psychological fact that children and adolescents will often live up to exactly what is expected of them…even if negative. Sociologically speaking, part of “labeling” states the same thing. Rather than extinguish certain actions, instead it “…may also heighten the likelihood that the behavior will continue” (McGaghy, Capron, Jamieson, 2001).
Another sample population of this society is not surprisingly another population of kids who are also often ignored and neglected. However, in this case it is not by their peers. But, instead by their upper-middle class, “career first” parental types. Their cry for attention is duly noted by their bizarre, shocking, and attention-getting clothing. It is said that “the kids who have adopted this culture and the lifestyle of alienation that goes with it exist inside of society…with parents and step-parents indifferent to their needs or behavior” (Altcult, 2001). “The History of Punk” author, A.S. Van Dorsten, validates this claim by his research finding that “the punk style was a demand for attention, together with a cry of rage against those who should have paid attention to these kids in the past, but had not done so…the parents were too immature or too exhausted; (in addition to) callous or helpless teachers and social workers…” (Van Dorsten, 2002).
Meanwhile, another subset are motivated by political values. Their association with the punk culture is their attempt at political expression. Much as an adult would join a radical political party in an attempt to “thumb their nose” at present societal sanctions and its “normal” operating procedures, this is their political faction. They consciously deviate from the mainstream of society and its beliefs, in order to bring attention to their select voice. A voice which they feel must be heard. The punk bands, themselves, much unlike many other musicians, actually have an “agenda”. So don’t their followers. Jeff Inman of the Las Vegas Weekly wrote that “men like (Kurt) Cobain…helped rock move up the spinal cord from the crotch to the brain” (Ambrose, 2002).
Overall, the punk society is comprised of a group of individuals who generally do not “stray” into such a group, but instead actively seek it out. They have “…consciously CHOSEN to reject their privileged places in society” (punksg.phreaks, 2002). In addition, although they may have individual primary motivators for doing so (as listed above), this is definitely an oversimplification. Without doubt, each member usually has other less prominent issues that are congruent with both the primary and secondary motivating factors of others. They are individuals that whether via blatant peer rejection, or a difference of opinions regarding the state of popular government, have found their implicit need for belonging unfulfilled.
For obvious reasons, many harbor anger (and rightfully so) toward the American “mean”. They are in need of both belonging and acceptance, as well as a means to express their disappointment, anger, and ideas for a better life. They reject (through what some consider “deviance”) mainstream America’s morals and hypocritical values. In an ironic twist, some ultimately end up rejecting a society that initially rejected them. They have found a Darwinian solution of adaptation and survival through elevating themselves to what they consider a better way of life and finding a more honest and valuable culture that will allow them and encourage them to do so. In response, they no only survive, but thrive.
Punk Philosophy and Function
So, what purpose does the punk culture serve? What societal function does it perform? Well, most of this can be answered simply by examining its central philosophy, a.k.a. “The Punk Attitude”.
Despite the raucous and rebellion on the outer surface, the punk belief system is actually quite meaningful and somewhat sophisticated. Mistakenly associated with drug abuse, self-destructive behavior and violence, they actually preach just the opposite and are advocates of peace. Courtney Love of the band, Hole, was married to Kurt Cobain, lead singer of Nirvana. In 1994, the band was to headline the “Lollapalooza” tour, when Kurt allegedly committed suicide. Instead of grieving in private, Courtney felt a responsibility to disappointed fans and selflessly appeared to speak with them and grieve together. It was said that “Cobain’s widow walked through the crowd…friendly and signing autographs” (Ambrose. 2002). Later, when MTV asked about her lack of private grieving and her continued stage appearances, she proclaimed: “I think that it’s expected that I should go close the drapes and, you know, shoot drugs or something for, you know, five years. But, I don’t want to do that. You now, I have a baby, I have to make a living…it’s the one time I feel really good” (Ambrose, 2002). Thus, even the boldest and outspoken punk rock icons, acknowledge “peace” and “sense of well-being” as important lifestyle qualities.
In addition, the culture, itself, is most commonly equated with the concept of anarchy. They do advocate that the population should govern themselves and are anti-government, due to its failures and corruption. Yet, this is simply a means to an end: the end being equality. Deeply ingrained in their culture is the belief that all people are equal and should be treated equally, without a class structure or the oppression of the government. One “punk rocker” elaborated on this by proclaiming “We are doing shows to incite people for action against the government, not to preach to the converted. We want to get this message of social equality out everywhere we can” (Ambrose, 2002).
Undoubtedly, another tenet of this group is (within reasonable terms) unconditional acceptance. In contrast to mainstream culture, whom can often be brutally intolerant of differentiation or individuality, this sector embraces acceptance and belonging through a sense of comaraderie, are commodities rendered to these individuals by these individuals. They are emotional necessities that may have been previously withheld elsewhere. In addition to promoting both artistic and personal expression and individuality, they are equally open to more abstract diversities, as well. Always open to new and refreshing views, they encourage all means of opening the mind to new and better ideas. They do not fear change, but see it as a means to potentially render improved ways of thinking, which may result in a positively enhanced quality of life. In a sense, they strive towards a sort of “societal self-actualization”. This is a growing process that the collective “mainstream” societal way of thinking may not be capable of.
Lastly, one of the most important functions of this subsociety and their beliefs is the outlet it provides for its adolescents’ expression of anger and frustration. As one writer points out, it is important to acknowledge that today’s youth are existing “against a landscape strewn with the bodies of gunned-down high school jocks, paraplegic schoolgirls who used to wear Kermit The Frog backpacks, and other victims of an anger which is misunderstood” (Van Dorsten, 2002). However, both the writings of the lyrics and their recitation provide the ultimate example of first amendment rights and freedom of expression for these kids to communicate how they feel. In addition, their manner of dance (collectively known as “The Mosh Pit”), furnishes the type of release from tension only experienced through such positive physical activities as exercise. Unlike other groups who may engage in, encourage, or take a passive stance against violence, this society takes an active approach against it.
They are individuals who do not exhibit violence towards the peer who ridiculed them or the parents who neglected them. Instead, they are on the opposite end of the continuum from other subgroups that are participated in by teens with similar backgrounds and issues. Some examples are seen in teen who gravitate towards cults, which not only deceive their own members, but seek out to solicit others. Another example, of course, is gangs. They not only promote violence against anyone who “crosses their path”, but often actively seek out to kill people and then hold such an act in a place of esteem. Unlike these, the punk culture represents an incredible example of sublimation. The members of this group are usually wise individuals who have chosen this way of life, as opposed to the aforementioned destructive and violent alternatives. Therefore, a great irony exists in that “normal” society looks down upon these teens and their society. Yet, this subculture, itself, actually serves a beneficial and productive function for what we consider to be “mainstream” America. It does thy by providing the outlet discussed and a positive, alternative culture for such “deviant” (perhaps somewhat “troubled”) youth.
The Mosh Pit
One integral part of punk culture that must be mentioned is the so-called “most Pit”. It symbolizes a microcosm of this society. Through its outward appearance and inward structure, it epitomizes all that punk culture is about.
“The pit” occurs at the foremost center stage section of the floor area at an event, such as a punk rock concert. For an “on-looker” it appears to be a chaotic collection of concert-goers slamming into each other recklessly and perhaps, even violently. Joe Ambrose, a “most biographer”, states: “to the outsider moshing looks like the most terrifying spectacle, as if things have got totally out of control, as if hundreds will surely get badly injured” (Ambrose, 2002). Yet, this “activity” serves as their form of artistic expression, personal freedom, and outlet to release all their negative energy and anger. After all, it is a known fact (as stated previously) that exercise is a great form of stress relief! This is the punk means of exercise. Helen Kay, a “punk rocker” and activist, expressed that “the pit remains a great way to work out all the shit that’s going on in your life. Or to work it out of your system” (Ambrose, 2002).
Further, as opposed to occurring on the street, it is presented in a controlled, contained, safe environment. There are “pit lieutenants”, otherwise known as die-hard fans who show up for a band consistently and become “observed leaders, ensuring that nothing is going awry” (Ambrose, 2002). Surprising to most, rules, etiquette, and mores exist within this active mesh of bodies that epitomize the values of punk culture, as a whole. “The rules of this etiquette insist that people look out for on another and react instantly when they see something going wrong” (Ambrose, 2002). And that “people should intervene communally when they see something they don’t like” (Ambrose, 2002). Events warranting such intervention include offenses from irresponsible “bullying” to sexual harassment. In sum, these standards reflect the positive beliefs that exist and are expected to be adhered to. Therefore, like the entirety of the culture, the “most pit” is an entity that from the outside may present as violent, disorganized, pointless, and destructive. Yet, upon examination this is an entity which provides a positive societal function for both punk and mainstream culture.
After careful analysis, it appears that the punk subculture represents an instance where, perhaps, deviance from “pop” culture has become an attractive goal. Upon examining the motivation of this population, it transforms the meaning of “deviance” from its negative connotation to a desirable, less aversive trait. Through utilizing organization, values, and rules, it creates a means of sublimation for its youth. Meanwhile, it concurrently serves as a Learning Experience: teaching Comraderie, Acceptance within Diversity, Equality amongst Individuality, Tolerance, and Respect. It successfully preaches and instills concepts and character traits that institutions from penal facilities to ivy league universities strive to achieve. Here we have found a subculture that give “deviance” a good name. It represents probably one of the best examples of the adage “You should not judge a book by its cover” and lends new validation to the argument that in what appears to be chaos, there does exist order… after all.
Works Cited
Ambrose, J. (2002). The Violent World of Mish Pit Culture. New York: Omnibus Press
Bateson, K., Parker, A. (1990). Sid’s Way: The Life and Death of Sid Vicious. New York: Omnibus Press.
Gruen, B. (1990). Chaos: The Sex Pistols. New York: Omnibus Press.
Matlock, G. (1989). I Was a Teenage Sex Pistol. New York: Omnibus Press.
McGaghy, Capron, Jamieson. (2001). Deviant Behavior: Crime, Conflict, and Interest Groups. Needham, MA: Allyn and Bacon.
Van Dorsten, “A History of Punk”., www.fastnbubbous.com
www.nimh.gov
www.punksg.phreaks.com
www.thepit.com
www.altcult.com
