Cody Simpson

HIST 477--Barefoot
04/04/2019
Punk Rock: A Local Revolution

The punk rock revolution exhibits the themes of local differences, a change of mental

acceptance, and a change in societal inclusivity. The structure of this project will be to analyze

the punk rock revolution as a whole, but more specifically focusing on the early scene in Britain

with the emergence of the Sex Pistols and the later scene within the 90s within California. Punk

rock as a history somewhat begins and ends with these two eras on a large scale level. Beginning

with the Sex Pistols in the 1960s and the mainstream success of bands such as Green Day and the

Offspring in the 1990s is the parameters of punk rock’s history.

Punk rock is a revolution that rejects the mainstream, which changes depending on the

local area. This can be seen with the difference between the Sex Pistols’ work from Britain and

the California punk scene. As Jones states, punk within Britain “exhibited anarchic, libertarian,

and utopian tendencies” which is similar to the original California punk scene in the 80’s.1 As

pointed out the punk scene in California prior to the Gillman club was highly violent and racist.2

The McLarens make a point that punk has a stereotype of being made up of “white racist

skinheads”, while also noting Malott and Peña’s point that the California based scene condoned

white supremacy.3 This counter-scene that evolved in the bay area of California emits more

modern tendencies. This is pointed out by the inclusivity of age within the punk scene, as seen

by the age of John Lyndon of the Sex Pistols and his acceptance in the scene.4 Bennett makes

this point through the style of punk rockers throughout the ages, which has changed throughout

1 Jones, Peter. "Anarchy in the UK: '70s British Punk as Bakhtinian Carnival." Studies in Popular Culture 24:3
(2002): 28. Green Day: The Early Years, Episode 1 “Green Day: The Early Years Chapter 1: ‘Sweet Children’”,
produced by Spotify Studios, aired March 23, 2017, Spotify.
2 Green Day: The Early Years, Episode 1 “Green Day: The Early Years Chapter 1: ‘Sweet Children’”, produced by
Spotify Studios, aired March 23, 2017, Spotify.
3 McLaren, Peter, and Jonathan McLaren. "Afterword: Remaking the Revolution." Counterpoints 223 (2004): 123.
4 Bennett, Andy. "Punk's Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans."
Sociology 40:2 (2006): 219.

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time, but also shows the community that is punk. These looks tend to be based on the rejection

of mainstream styles, such as “nose rings” but even extending to tattoos and hairstyles.6 Lee also

covers the difference in punk style from societal norms.7Furthermore the similarities between

local scenes are exemplified by Turrini who notes the homemade style punk rock posters and

three chord songs.8 Turrini makes this point based on the Ramones, a New York based punk

band, which makes a similar point to Grossman’s about the simplicity of punk as four chord

songs.9 There is a clear variance of punk on a local level, with similarities in its larger trends.

This rejection of mainstream is a form of a mental revolution. In these small

communities, punks came about this similar mindset to reject institutions such as the British

monarch with the Sex Pistols. This takes a stronger form with the later California scene where

Gillman’s moto is “No Racism, No Sexism, No Homophobia”, which in the late 80’s early 90’s

was not a very welcomed mindset in America.10 Mattson also makes a similar point that the

young punk movement created a form of cultural rebellion, an inclusion of community.11

Similarly Mallot and Peña also demonstrate their racial differences existing and being accepted

within the punk scene.12 The inclusivity of different races and sexes in this scene derive from a

rejection of mainstream ideology in America. Cogan continues on with this point with the tie in

5 Bennett, 225.
6 Bennett, 225.
7 Lee, Susanna. "Punk "Noir": Anarchy in Two Idioms." Yale French Studies, 108 (2005): 180.
8 Turrini, Joseph M. ""WELL I DON'T CARE ABOUT HISTORY": ORAL HISTORY AND THE MAKING OF
COLLECTIVE MEMORY IN PUNK ROCK." Notes 70:1 (2013): 59.
9 Grossman, Perry. "Identity Crisis: The Dialectics of Rock, Punk, and Grunge." Berkeley Journal of Sociology 41
(1996): 21.
10 Green Day: The Early Years, Episode 1 “Green Day: The Early Years Chapter 1: ‘Sweet Children’”, produced
by Spotify Studios, aired March 23, 2017, Spotify.
11 Mattson, Kevin. "Did Punk Matter?: Analyzing the Practices of a Youth Subculture During the 1980s."
American Studies 42:1 (2001): 92.
12 Malott, Curry, and Milagros Peña. "Chapter 9: Conclusion: The Inevitable Revolution." Counterpoints 223
(2004): 120-21.

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between punk and anarchy or radical thought. This emphasis focuses on a pull away from the

mainstream form of thinking. This movement holds anti-capitalist and even anti-government

ideals.

The politics of punk rock show the difference in societal acceptance. As stated by Mike

Dirnt in the Green Day documentary, their bringing of Pansy Division on their first tour was a

political statement.14 The goal of this tour was to increase the knowledge of gay rights and the

acceptance of gays in society. As shown previously the mindset of the early 90’s California

scene was against homophobia. Similar to this the original punk scene in Britain went against the

idea of class structure in England.15 The McLarens also makes a point that politics exists within

the punk scene and in punk music.16 The questioning of society and rejecting norms presented in

terms of gender, race, and class is a large part of the punk rock movement.

In the final project, I plan to connect the punk rock revolution to themes and materials

from week 2, week 5, week 6, week 11, week 12, and week 15.

Comparisons to the Weeks

There are large connections between punk rock and capitalism. Punk Rock acts in

opposition to capitalism since the main locations of punk rock is in capitalist countries. Moore’s

description of the self destructive tendencies of capitalist practices go against the goals of punk

rock. Punk rock tends to lean more towards Marxist ideals and is closely linked with anarchy.

13 Cogan, Brian. ""Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing Gristle, and Anarchy and
Radicalism in Early English Punk Rock." Journal for the Study of Radicalism 1:2 (2007): 77-90.
14 Green Day: The Early Years, Episode 1 “Green Day: The Early Years Chapter 1: ‘Sweet Children’”, produced
by Spotify Studios, aired March 23, 2017, Spotify.
15 Dunn, Kevin C. "Never Mind the Bollocks: The Punk Rock Politics of Global Communication." Review of
International Studies 34 (2008): 195.
16 McLaren, Peter, and Jonathan McLaren. "Afterword: Remaking the Revolution." Counterpoints 223 (2004):
123-24.

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Another clear connection is the presence of the working class in the punk rock revolution.

This movement is not something that exists in the Bourgeoisie class. Similar to France and

Russia, this is a movement by the common people in opposition to people with monetary power.

Along with this there is a clear agitation between punk rockers and monarch like figures. For

instance the Sex Pistols opposition towards the Queen, and their comparison of her to a tyrant.

This can be seen in American punk as well with songs that attack the president. Opposition to

powerful figures has become a staple of punk.

Similar to the black power movement, punk at its core does not seek to align itself inside

traditional structures. As mentioned prior there are clear ties to anarchy, and not having a

presence within the “mainstream”.

Bibliography

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1. Ambrosch, Gerfried. "American Punk: The Relations between Punk Rock, Hardcore, and

American Culture." Amerikastudien / American Studies 60, no. 2/3 (2015): 215-33.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/44071906.

2. Bennett, Andy. "Punk's Not Dead: The Continuing Significance of Punk Rock for an

Older Generation of Fans." Sociology 40, no. 2 (2006): 219-35.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/42858167.

3. Cogan, Brian. ""Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing

Gristle, and Anarchy and Radicalism in Early English Punk Rock." Journal for the Study

of Radicalism 1, no. 2 (2007): 77-90.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/41887578.

4. Dunn, Kevin C. "Never Mind the Bollocks: The Punk Rock Politics of Global

Communication." Review of International Studies 34 (2008): 193-210.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/20542757.

5. Grossman, Perry. "Identity Crisis: The Dialectics of Rock, Punk, and Grunge." Berkeley

Journal of Sociology 41 (1996): 19-40.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/41035517.

6. Jones, Peter. "Anarchy in the UK: '70s British Punk as Bakhtinian Carnival." Studies in

Popular Culture 24, no. 3 (2002): 25-36.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/23414964.

7. Lee, Susanna. "Punk "Noir": Anarchy in Two Idioms." Yale French Studies, no. 108

(2005): 177-88.

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8. Malott, Curry, and Milagros Peña. "Chapter 9: Conclusion: The Inevitable Revolution."

Counterpoints 223 (2004): 119-21.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/42978334.

9. Mattson, Kevin. "Did Punk Matter?: Analyzing the Practices of a Youth Subculture

During the 1980s." American Studies 42, no. 1 (2001): 69-97.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/40643156.

10. McLaren, Peter, and Jonathan McLaren. "Afterword: Remaking the Revolution."

Counterpoints 223 (2004): 123-27.

http://www.jstor.org.ezproxy4.library.arizona.edu/stable/42978335.

11. Spotify, Green Day: The Early Years (Spring 2017; Spotify Studios), Documentary.

12. Turrini, Joseph M. ""WELL I DON'T CARE ABOUT HISTORY": ORAL HISTORY

AND THE MAKING OF COLLECTIVE MEMORY IN PUNK ROCK." Notes 70, no. 1

(2013): 59-77. http://www.jstor.org.ezproxy4.library.arizona.edu/stable/43672697.