Imagine me, in business casual (barely), sitting in a dirty Brooklyn dive bar to see one of the DIY punk bands I’ve been following for all of three months. I can barely stay still from the excitement. Yet, I notice, like I always have, that I stick out like a sore thumb. I’m not referring to the business casual attire; we all do what we can to survive in the city.
Regardless, I’ve started to challenge myself and ask, “Do I really stick out at these shows?” Partly because I always end up leaving with a new friend when I attend a show alone.
And mostly because whenever I go to a show, the band’s lead singer stops their set to discuss a political issue that belongs to the ideologies of the left. As a black woman, this makes me feel safe. As an avid music fan and someone who is hyper-fixated on the history of anything and everything, I’m intrigued.
Uncovering Punk’s Anti-Establishment Roots
For the next few days after the concert, I did a deep dive into punk music and its anti-establishment roots. In the mid-70s, the punk subculture emerged in the United Kingdom and New York.
The punk movement began among teens and young adults looking for a more combative approach to rebelling against societal norms compared to the tamer peace and love movements of the 60s and early 70s. Punk music is and has always been grounded in counterculture — from fighting for working-class inequality to fashion to non-conformity in the realm of self-expression.
I discovered that you can’t separate punk music from politics, even in the slightest.
@mycelium_queen Replying to @mycelium_queen ♬ original sound - Mycelium Queen 🦋
Death Versus Bad Brain
As soon as I was old enough to go to shows alone, I submerged myself in the DIY scene. I had no idea what I was doing, I scoured the internet to find “small concerts,” as I called them, in Boston, where I went to high school.
I identified with punk for myself. But when I made the connection between punk and politics, I opened myself up to a whole new world of music.
Lyrics like: “Politicians in my eyes / They could care less about you / they could care less about me as long as they are to end the place they want to be,” from the band Death — considered to be the pioneers of punk music as a genre — spoke to me.
I was even more pleased that the actual founders of the genre — originally a jazz fusion turned hardcore punk band called Bad Brain — were Black Musicians.
I once declared that I’m only an amalgamation of those who came before me, so hearing this quite literally brought tears to my eyes (I’m so far from joking, it’s almost funny again). At my favorite DIY punk, emo, and rock concerts I belong just as much as anyone else.
I’ve always loved that punk music and its subculture take a stand for its listeners.
Feminist Punk: The Riot Grrrl Movement
Shortly after fully immersing myself in the scene, I was introduced to Bikini Kill and the Riot Grrrl movement. Emerging in the early 90’s, the Riot Grrl movement came about out of necessity for a space for women in the punk scene. Riot Grrrl directly combats sexism and works to normalize female anger and sexuality.
In 2023, I began filming a documentary about Boone, North Carolina — a small town rich in music, culture, and activism, especially for the LGBTQ+ community. My production team and I soon noticed that the conversations solely about the music scene quickly became political, especially for Babe Haven, a Riot Grrrl band hailing from Boone.
I now have the pleasure of calling the band members my friends. They’re an integral part of the history of punk and the Riot Grrrl movement, from their songs about objectification of women, like “Uppercut” and “Daddy’s Little Girl” to firsthand accounts of the band from those who believe that punk music has always been all about men — particularly white men.
“Riot grrrl is the way we dress, the way we talk, and the way we stand up for ourselves and other feminine folk. It’s aggressively inclusive, and that’s why we’re so drawn to it. We have on one hand, this outlet for our collective anger and grief, and on the other, we have this platform for queer and feminine celebration.” – Babe Haven
Jonathan Courchesne
Through the Looking Glass
Now, my eyes are peeled for signs and signals of the punk scene and its connection to politics. From the moment of silence for Gaza at a November concert to the New Jersey-based punk band Funeral Doors’ moment of silence for Gaza, and Brooklyn-based band Talon in February.
I remember standing in the crowds at that concert in February as the business casual people entered the bar, expecting a relaxing after-work drink with some light chatter in the background. I watched their faces as they slowly backed out of the door. While they heard howling, the fans listented to Juni, the lead singer of Funeral Doors, screaming, “F*ck trans genocide!”
Everyone was immersed in the safe space the band had provided us. Somewhere in the crowd, there was someone — or 3 or 4 individuals — struggling to truly be who they are. And — if only for a brief moment — they felt like they belonged.
Lead singer of Funeral DoorsERYNN WAKEFIELD
Inevitable Misunderstanding
Although there are essential conversations happening within the punk and DIY communities about what it means to be a part of the subculture, we still have work to do. Recently, I had an extremely jarring experience as I was peacefully scrolling through TikTok.
I came across a string of videos about right-wing punks trying to claim the subculture for themselves. Soon after my feed was flooded with stitches and clapbacks from left-wing people explaining the subculture of punk music and the inability to remove it from left-leaning political discourse.
@c4b1n_1n_th3_wxxds_ Sorry i look kinda bad 💀 ive bad a rough few weeks . . . . . . #punk #punkstyle #punkclothing #punkrock #punkfashion #crustpunk #folkpunk #queer #gay #lgbtq #pride #leftist #leftistpolitics #anarchism #Anarchy #Socialism #anarchocommunism ♬ original sound - C4b1n 🔻
Punk's Proclamation: A Movement Rooted in People’s Power
I’ve said it time and time again: artists must reflect the times. It’s both comforting and empowering that this genre I love so much does not deny me. And it wouldn’t be what it is without me. As silly as it sounds, I often return to a meme, one that declares that people — if they choose to create — need to carry the burden of the world they’re living in. This has only proven to be true.
Punk music and the subculture behind it aren’t merely screaming and studded belts from your local Hot Topic (if they’re a thing anymore). The punk scene highlights the struggles of the working class, sheds light on political issues relating to marginalized groups, fosters community, and fights for what’s right.
Punk music has always held a space for me; all I had to do was claim it.
@wormtriip via Instagram
Automation and the Post-Labor Economy
Automation is set to replace a large portion of the American workforce. What do we do once it happens?
In his 1984 essay Is it O.K. to be a Luddite?, Thomas Pynchon predicted that "the next great challenge to watch out for will come when the curves of research and development in artificial intelligence, molecular biology and robotics all converge." Nearly 35 years later, that convergence is upon us. Barring some sort of federally enforced halt on technological progress, automation of most basic services is inevitable.
Self-driving cars are continuing to improve. Automated checkout lines are being implemented all over the American retail space. There are even programs being written that may be doing the majority of our accounting work in the future. Sadly, the common claim that technological advances and economic growth go hand in hand with job creation is spurious at best. In 1964, AT&T was worth $267 billion (adjusted for inflation) and employed upwards of 700,000 people. Today, Google, which is worth roughly twice as much as 1960s AT&T, only employs about 88,000. According to the McKinsey Global Institute up to 375 million people could be out of work by 2030. Unlike the second industrial revolution, which gave us cars and airplanes in the 20th century, the third industrial revolution probably won't create many new jobs. In fact, by that same 2030 mark, the U.S. could be staring down the barrel of 35% unemployment.
The specific numbers, which I've thoroughly explored here, aren't nearly as important as how the U.S. government chooses to address the issue. Mass unemployment is coming, and it's hard to even imagine what it might look like, let alone how we're going to deal with it. In his piece A World Without Work, Derek Thompson attempts to tackle this issue, comparing the future United States to the present Youngstown, Ohio, a once prosperous steel town that lost 50,000 jobs to overseas manufacturing in the late seventies. In the years following the steel industry's evaporation, the rates of depression, suicide, and spousal abuse all jumped up radically. According to professor Jonathan Russo, "Youngstown's story is America's story, because it shows that when jobs go away, the cultural cohesion of a place is destroy." Thompson's thesis is that work is so ingrained in the American psyche that regardless of whether or not we end up with a welfare state to take care of the millions of jobless, there will be civil unrest. Kurt Vonnegut came to a similar conclusion 63 years earlier in his book Player Piano, in which the government was forced to not only provide complete welfare for the unemployed masses, but fake jobs as well.
With regard to the impending employment drought, the government is left with a few options. They can ignore the issue, allowing millions to slip into grinding poverty, turning Youngstown, Ohio into the norm. This type of laissez-faire capitalism would have made Ronald Reagan blush but the problem is, with no money, there are no consumers. Another solution that's been popularized in recent years is Universal Basic Income, a program in which the government pays all of its citizens enough money to live, regardless of whether or not they're employed. Plenty of tech moguls, from Elon Musk to Mark Zuckerberg, have embraced the idea that the money made from technological advances should be, at least partially, given back to the people. On paper, it's a no-brainer. People need money to live, and companies need people to have money or else no one would buy anything. This would, as it were, keep the trains running on time. The problem is, this plan ignores Thompson's point about the vacancy of purpose left by a post-labor economy. There's a feeling of despair attached to having nothing to do. Anyone who's ever spent a teenage summer vacation not working can attest to this, and as evidenced by Youngtown, this listlessness can be destructive, both physically and psychologically.
There is a third option however, one that's helped Germany lower its unemployment rate, called work-sharing. Essentially, the program cuts hours rather than employees. For example, if a company needs to cut 30% of its low level accounting staff, instead of firing 30% of its workers, it cuts everyone's hours by 30%. Conventional wisdom says that inoculating less efficient workers from layoffs while cutting the best workers' hours is a recipe for disaster, but we are entering a distinctly unconventional time. If employees are losing their jobs to hyper-efficient automation, the potential dip in productivity should be more than mitigated. That said, work-sharing doesn't completely fix the problem either. Unless major corporations suddenly start valuing benevolence over higher profit margins, less hours means less pay. Trim the hours enough and the results of work-sharing and the results of ignoring the problem altogether start looking eerily similar.
Matt Clibanoff is a writer and editor based in New York City who covers music, politics, sports and pop culture. His editorial work can be found in Inked Magazine, Pop Dust, The Liberty Project, and All Things Go. His fiction has been published in Forth Magazine. -- Find Matt at his website and on Twitter: @mattclibanoff