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
Contextless Nostalgia and the Neo-Fascist Urge
In the wake of the Tree of Life shooting we're left wondering: how did we get here?
Is Robert Bowers a Fascist?
Pittsburgh Gazette
If Umberto Eco is to be taken at face value when he describes his Ur-fascist as "impatient for death,"¹ the question we're left with in the wake of the Tree of Life Synagogue shooting is this: Why now, in 21st century America, has this distinctly 20th century urge, this death drive, suddenly rematerialized? The other questions–ones concerning motive, logistics, and cultural response–while meaningful in their own right, only explain the symptoms, not the disease.
Fascism in its truest sense is a type of suicide, one committed not by an individual but by an entire society. Still, the important conversation (as with an individual suicide) doesn't concern method. When a man takes his own life, the why is a far more incisive question than the how. If we're to extrapolate this metaphor, to argue about gun control, anti-semitism, and President Trump's brusque response to this tragedy is tantamount to debating the meaning of using rope over a straight razor. In the interest of being thorough, however, let's briefly explore these symptoms:
Immediately following the attack, Robert Bowers' social media posts went loud, his comments regarding Jewish conspiracies sitting somewhere between Alex Jones' InfoWars and the Protocols of the Elders of Zion. "Jews are the children of satan," he shouted into the Internet void. What the public was given were echoes, reverberations after the fact. The shooter's motive was never in question.
The issue then splintered, its fragments taking familiar trajectories. Pragmatists argued for tighter gun control, in this case perhaps an antihistamine, but one that could at least theoretically prevent another maniac from gunning down a room full of unarmed civilians. Others blamed the increasingly volatile rhetoric of the Trump regime for galvanizing a new generation of angry white men. When looking at the recent rise of extremist provocateurs,² this second point can feel the more crucial (though it goes without saying that these views are far from mutually exclusive), but in reality, it's closer to a half truth. Barack Obama's assessment of Trump (and by extension his rhetoric and the hate it inspires) as the "symptom not cause" of our present spiritual crisis mirrors this opinion, whether he meant it to or not. Still, we're left wondering: if Trump, Bowers, Cesar Sayoc, Richard Spencer, the alt-right, et al. are symptoms, what's the cause?
Contextless Nostalgia
It's been stated time and time again that we're becoming increasingly obsessed with nostalgia, cripplingly so. Whether or not it's true, again, is not so important. The why, however, remains.
Nostalgia, in the classic sense, is a wistful remembrance, a pained recalling of a time where things were better. It's a belief, however erroneous, that the past contains more happiness than the present. A fitting example of nostalgic art is Richard Linklater's Dazed and Confused, a film so nostalgic it feels documental, produced for the former rebels/present yuppies of Gen X as a glimmering look at their past, a reassurance that they were indeed once cool. Saccharine or not (depends on who you ask), the film certainly comports to this traditional definition.
Today's televisual/cinematic nostalgia, if one can really call it that, has a distinctly different flavor. Instead of being a monument to the past, a shared generational experience, nostalgia has been co-opted as an aesthetic, a mood. Stranger Things, a show decidedly millennial in both content and attitude, is a perfect example of this. The outfits, the lingo, the references, and the sets all feel nostalgic, but a look at the show's viewership demographics quickly reveal this feeling doesn't fit nostalgia's true definition. 18-39 year-olds aren't old enough to have memories from the early 80s.
The television producer's argument that Stranger Things and other period dramas give a younger audience access to the past (which is new to them) while also capturing an older demographic who experienced the events on the show first hand doesn't hold water, especially when you consider that the Duffer Brothers are only 34-years-old. The nostalgia they're capturing isn't genuine. It's a fractal cobbling of present day ideals and past aesthetics–not nostalgia, but mutation, a rehashing and reliving of history with no frame of reference. It's time travel to a non-existent past.
One look around–bell bottom jeans, Mad Men, 90s-inspired music videos, Rolling Stones and Led Zeppelin songs playing on truck commercials–and it's impossible not to see this frantic pawing as the defining mark of our culture. It's not the end of history; it's a fraught and dizzying attempt to reimagine it and a cultural impetus to live in the mangled architecture of this imagined past.
Nostalgia for Stakes
To return to Eco for a moment, the Ur-Fascist is also marked by the fact that he's "deprived of a clear social identity." Eco goes on to say that fascism takes this lack of identity and fills the void with nationalism. While this is certainly true, from average Trump supporters all the way down to Cesar Sayoc and Robert Bowers, Eco never identifies the cause of this deprivation.³ The contextless nostalgia of our present offers an entrée into diagnosis–Bowers and others like him, while certainly insane, aren't so far removed from society as to be immune to its mores.
This new form of nostalgia, this amalgam of distorted realities, functions as both an escape hatch from our present existential void–a void of unmeaning, a loss of stakes–and one of its root causes. This new, fundamentally false, cultural memory is a product of our present zeitgeist. It's born of an influx of information and static confusion, one created by a society so materially comfortable that it's primarily concerned with artistic and aesthetic trends, with manufacturing meaning. The loss of stakes, however, can be traced back to the 1970s.
Following the Vietnam War and the Strategic Arms Limitation Talks (SALT), the U.S. found itself in a peculiar position. After nearly 40 years of perpetual war, we lacked an enemy to align ourselves against. A malaise set in, one that would typify the 1970s. Then, in 1983, Ronald Reagan offered the American people a respite from having to define themselves by anything other than what they are not. He declared the Soviet Union an "evil empire," rekindling Cold War rhetoric which had long since burnt out. Announcing this a few years after signing a non-proliferation treaty with the Soviets probably felt strange to anyone paying attention, but it didn't matter. We had an enemy again.
But was the Soviet Union truly our enemy or one recreated by spiritual necessity? Manufactured animosity and organic threats converged at a single point. For Reagan's part, all he did was stir up past resentments, but his demagoguery wasn't feeding some Weimar-esque yearning for a return to greatness, but a nostalgia for dire consequences. Because the method and end result are similar—a monolith enemy is created onto which a society can project its fears—this distinction can feel unimportant. But, this marked a significant change.
America's enemies were no longer an existential threat. They were created as convenient scapegoats for economic and political turmoil. The recession of 1973, the OPEC oil embargo, and the 1979 energy crisis, while not unserious, paled in comparison to the socio-economic climates that spawned the original iterations of fascism. The U.S. economy was down, sure, but there was no question as to where the seat of global power resided. Still, at the quotidian level, lines at the pump and the rapid decrease in factory jobs were panic-inducing. If we take this moment to be the birth of American fascism, the moment in which we became "constitutionally incapable of objectively evaluating the force of [our enemies],"⁴ then it represents a reversal of what happened in the Weimar Republic. Instead of a fascism born out of economic powerlessness and spiritual fervor, ours is the result of a spiritual drought created by material excess.
Convergence
On an individual level, it's hard to even differentiate Robert Bowers from the likes of Steven Paddock. Sure, Bowers is racist and anti-Semitic, but this is just a variation on the theme of the deranged lone gunman. If one steps back and looks at the furor in the stands at Donald Trump's rallies or at the violence in Charlottesville last year, however, it becomes impossible to miss this creeping trend, conservatism fading in the rearview as our society pushes ever rightward. But why?
If an individual suicide is an escape from life, an assertion that death is preferable to the anguish of everyday existence, then fascism, the societal suicide, must be an escape of the same order. At this point, it's clear that our sprint towards authoritarianism comes from our society's collective yearning for stakes, for meaning. There's no great existential threat, so we look to our leaders to manufacture one. But fascism is European. Its great figures have been dead for nearly a century. It's foreign, an anachronism. It doesn't make sense until one considers our present infatuation with nostalgia. Not nostalgia as feeling but as concept, as aesthetic. American neo-fascism is the point at which nostalgia for stakes and loss of context converge. Today's fascist is one who rifles through an ephemeral past, one he never really experienced, searching for an enemy that he's not only ill-equipped to assess, but that doesn't exist in any meaningful sense.
For those who feel disenfranchised by the end of history (or late capitalism or neoliberalism, whichever buzzword one assigns it), the options are limited. For reasonable people, it's a choice between participating in society or being forced to its margins. The neo-fascist avoids both options entirely, shirking nihilism and resignation. Instead, he dives head first into the shallow pool of contextless nostalgia, attempting to plumb the depths of history without realizing he's splashing around in a puddle. It's a frenetic and palsied search for a transgressive idea with which to define his world and by extension, himself. Robert Bowers is insane, yes. But the massacre he committed is simply a fringe response to a mainstream problem.
Donald Trump and the Fascist Urge
Axios
If Robert Bowers is a fascist, then what do we make of Donald Trump, whose rallies and policies embolden Bowers and those like him? This question has been on the tip of the media's tongue for three years, a veritable op-ed monsoon raging on both sides of the political aisle. It's here where Jean Baudrillard's idea of media as Möbius strip⁵ becomes relevant. Is Donald Trump a fascist? In this age of constant transmission, of signs and symbols ad infinitum, the answer and question morph into one. The answer is yes because we're asking. The harder pill to swallow is that we're asking because we want it to be true.
If a contextless nostalgia for stakes is the spiritual issue of our time, then it's preposterous to assume that it only affects the 42% of Americans who support Donald Trump. The other 58%, (liberals, socialists, some civility-obsessed conservatives) just manifest their yearning in a different way. The media frenzy surrounding Trump's campaign–the comparisons to Hitler, the endless, dizzying video coverage of his rallies and speeches–serves this latent desire. The mainstream media's posturing against Trump, their denouncing him as fascist, served only to legitimize him as such.
The #Resistance, the anti-fascists, the op-eds from supposed Trump staffers quietly opposing him from inside the White House, all work in service of the neo-fascistic lunge. The liberal outrage at Trump simply fulfills the desire for stakes in reverse. Instead of supporting Trump and accepting a manufactured enemy (immigrants, Jews, whomever), the anti-fascist (even linguistically the term anti-fascist, by virtue of its existence, seeks to build Trump into that enemy) wills him into being that thing by virtue of the anti-fascist's constitutional need for something to define himself against. Thus, simultaneity is achieved. Trump is a fascist not because of his racism or demonstrative hand gestures, but because both his supporters and detractors alike have willed him into the role.
Unfortunately, we're rapidly approaching a time in which the hows and whys lose their importance. Acts of terror, like Robert Bowers' attack, cut through the mediated blur and give us an honest glimpse at the stakes we're clamoring for, that we claim, by virtue of our actions, to need. In those moments the romance of crisis fades. With the rise of a Neo-American Bund, the regularity of racist and xenophobic sentiments and policy decisions, and the attempted suppression of the press, this once contextless urge is transformed into a frightening reality. Still, considering the The Tree of Life massacre already feels old, tired, like a relic of the past, it seems unlikely that this, or any one moment, will be enough to snap us from our nostalgic impulse and back into the present. It feels as though we're stuck in circumlocution, doomed to grasp for stakes until we conjure them in some perverse alchemical procedure.
Footnotes:
1. While a more accurate representation of Eco's point would include in it the idea of "heroic death," it feels safe to call this a death drive nonetheless. Suicidal ideation, however sublimated, is still suicidal ideation.
2. One that immediately comes to mind is Gavin McInnes, the leader of the Proud Boys, a far right group that was recently videotaped mercilessly beating protesters on the Upper East Side of Manhattan.
3. He also never attempts to. His piece on Ur fascism was written in 1995 and would have had to have been incredibly prescient to stay entirely relevant today.
4. Ur-Fascism, Umberto Eco, 1995
5. The Möbius strip, while constantly turning over itself, only has one side. In Baudrillard's view it's a perfect metaphor for binary or dichotomy (of ideals, information what have you), of which he believes(ed) no longer exist in modern society. It's a means of illustrating how information is constantly conflated.
Matt Clibanoff is a writer and editor based in New York City who covers music, politics, sports and pop culture. He currently serves as Lead Editor for Gramercy Media. 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