If there’s one thing you ought to know about punks, it’s that they love to claim punk. What is punk? Is it a look or a lifestyle or the intersection of the two? The idea behind punk, in my humble opinion, is a desire to abolish norms and reject them in lifestyle; to deny power to those who feel entitled to respect though it is unwarranted; to embrace difference, and be outspoken about it; to rebel against systems which blur individual identities.
Each time I leave a punk show in Seattle, I think, “that was the whitest show I’ve ever been to.” Until the next time I leave a punk show. It is easier to be oblivious to the white washing all too-common in punk as a white person. Punks want to claim edge, and profess themselves to be beacons of the spirit of rebellion as it fights to exist in a fascist-controlled nation. If this is actually the truth of punk, then we, as a community, need to be aware of and constantly act to remedy the issue of exclusivity. Representation is necessary. Real color is missing. People of color are missing. Punk is so white.
This is inextricably tied to pop culture’s perception of the history of punk. Coffee table books discussing the CBGB era might leave out photographs of black punks and queer punks. Think about who the photographers were—white men. Now what about the Riot grrrl movement? Founded by middle-class white girls, their politics focused on the issues of middle-class white girls. When punk music was born, around 1977 in the UK, the white working class had much to be angry about. To assume it would have been easy for a person of color to penetrate the scene is ignorant. Racism was, and is, alive and well. There is no denying the presence of white men in the roots of punk. However, “punk is not the property of whiteness.” If anything, I would argue punk modeled itself after reggae and blues, genres born as a means of survival and solidarity. It is the attitude of punk that truly matters, not the face of the movement. Nevertheless, that face needs to be more ambiguous, less obnoxiously white. POC have been involved in punk since the beginning. Whether that presence was made obvious would have been up to curators who likely white-washed coverage of the genre’s uprising.
The issue is the perception of what punk looks like. Lack of representation also has to do with excused violence and toxicity. Protecting perpetrators of such actions prevents participation. I cannot reasonably expect a black, queer femme to feel comfortable or protected in punk spaces, but as a white woman, I can attempt to shrink the gap between projected ideas and the reality of “safe spaces.” White guys always seem to be the angriest and loudest, despite their enjoying the most privilege in society. So why are they so angry? Given the proclaimed ethos of punk music, it should be black queer women screaming on stage. Where are the angry voices who deserve to be angry? More important than being angry about injustice is using said anger as incentive for action. Talk of punching Nazi’s is great, but there must be more to your politics than posting. Maybe start by confronting your white friend who continues to appropriate black language on Twitter, or call your representatives. Consider conducive venues for acting upon anger. In situations when general acts of disobedience are necessary and fruitful, oppressive systems and its supporters are the correct targets.
Photo courtesy of the BBC
A DIY scene is nothing without ethics. The main takeaway from punk, especially DIY punk, is the “anything goes” approach to music. Ideally, at a DIY show, you look on stage and think “I could do that.” The lack of representation prevents this idea from actualizing. The punk world is, or ought to be, for everybody. In reality, men are the scene. Men own the venues, men book the shows, men play in the headlining bands, and men dominate the pit. Punk is an old boys’ club, one that can be difficult to access. And honestly, if you aren’t a white guy, is it worth it to try? As a person of color, a queer, or even a cis woman, when you go to shows, you will inevitably be tested on just how *legit* you are. Want to name three songs before you’re granted a hand stamp? It is emotionally exhausting to constantly have to prove yourself and made to feel like an outsider. It is infuriating to have your interest in punk questioned because of your identity.
Space needs to be made for people of color in punk. Recognition should not be about singling out non-white folx and putting them on a pedestal. The absolutely punk nature of being a POC, or queer, or female should be recognition enough. Caring about sh*t is punk. Standing up for those who are systemically knocked down is punk. Being angry about injustice is punk. You should have something to be angry about, if you are not angry, you are not listening! Punk music isn’t going to change anything, but punks might. With the right soundtrack, social activism should follow. What’s the point of getting all riled up at the show if you aren’t going to do something about the rage coursing through your wildly oscillating limbs?
Yes, there are less people of color, queers, and women in punk. Yes, we should support them, and yes, we will. No, we don’t want to go to your house show to hear the same cis white dudes sing about their ex-girlfriends. Instead, we’re going to Volunteer Park to journal about our feelings of queer repression and make zines for prisoner solidarity benefits. You can find us later, at Vita, if you want to talk Audre Lorde.
*For more on this topic:
BOOKS
White Riot: Punk Rock and the Politics of Rage
The Spitboy Rule: Tales of a Xicana in a Female Punk Band
ARTICLES
How Punk Rock Has Always Existed Within Black Culture by Petra Gunn
Race, Anarchy, and Punk Rock: The Impact of Cultural Boundaries within the Anarchist Movement by Otto Nomous
DOCUMENTARIES
MADELINE THOMAS | Cleaning your recycling is queer punk culture | KXSU Music Reporter
I agree. There is no “movement” without action.(Moshing is not action! Get off yer arse and do SOMETHING that makes a POSITIVE difference.)