This paper works with the underlying assumptions of Dick Hebdige’s study of subculteres. Here, the word subculture is used synonymously to youth culture, which is a contrast to Stefanie Grimm’s Die Repräsentation von Männlichkeit im Punk und Rap, where she defines subculture as a necessary step for groups that are rejected by the mainstream and thus have to find their semi-invisible niche. She specifically names the gay culture. Youth cultures, Grimm writes, are at the border of subcultures and popular culture.1 But since youth cultures are as much a mystery to mainstream society as for example the gay culture, I choose not to make a difference between the words.
After a short introduction to the theory of subcultures and especially theory in punk and hardcore, this paper aims to discuss the youth cultures’ similarities and differences, the reasons for changes and continuity in the scene, and the relation to politics. Sources cited will include academic texts, popular texts like Andy Greenwald’s book Nothing Feels Good. Punk Rock, Teenagers, and Emo, as well as original voices from the scene, for example collected in interviews by Beth Lahicky for her book All Ages. Reflections on Straight Edge. As music is the starting point of all discussed youth cultures, there will also be comment on exemplary lyrics.
Most of the last chapter on the latest form of punk rock, emo, will be in interview style. To date there is one book written on emo. The author Andy Greenwald offers his readers an online messageboard to discuss his work, emo and everything related to it. He actively participates in the discussion and was so kind to answer my questions.
At a glance
- Grade: 1.0 (1.0 is the best grade)
- Original online interview with emo author Andy Greenwald
- Uses Dick Hebdige’s subculture theory as a framework
- Compares Black Flag and Teen Idles lyrics
- 17 sources in the bibliography
Table of Contents
1. Introduction
2.1. Theory of Subcultures
2.1.1. Theory in Punk Rock
2.1.2. Theory in Hardcore
2.2. Punk and the Reagan Administration/ Conservative Politics
2.3. From Punk to Hardcore
2.4. Straight Edge
2.5.1 Emo/ Emocore
2.5.2. Online Interview with Andy Greenwald, Author of Nothing Feels Good
3. Conclusion
Objectives and Themes
This paper explores similarities and differences among American punk, hardcore, straight edge and emo youth cultures. It asks how these scenes have changed or maintained continuity and how they relate to politics, using subculture theory, published accounts, song lyrics and an online exchange with an author.
- Subculture theory and youth identity
- Punk and conservative politics in the Reagan era
- Regional developments in American hardcore
- Straight edge practices and symbols
- Emo, commercialization and changing media
Excerpt from the Book
2.3. From Punk to Hardcore
In his book Take Three Chords… Punkrock und die Entwicklung zum American Hardcore, Dirk Budde describes the development of American hardcore since 1978. According to him, the first contrasts of punk rock and hardcore are the places where the music is created. While the American punk scene concentrates in urban centers like New York and Hollywood, hardcore emerged in the southern suburbs of Los Angeles. The music and the entire movement was a reaction to the closed city punk scene and, as James Ward explains in his article “`This is Germany! It's 1933!' Appropriations and Constructions of `Fascism' in New York Punk/Hardcore in the 1980s.” also to the portrayal of punk in the mainstram media: “Hardcore emerged in the early 80s, first in L.A […], mainly in reaction to the commercialization of punk, e.g., in Hollywood exploitation films like Class of '84. Charting precise distinctions between punk and hardcore is precarious at best.” The dilemma of differentiating between punk and hardcore has staid over the years, there is no concensus in academia or even in the scenes themselves.
The hardcore scene organization is similar to that of the punk scene. It has become more professional over the years and record labels that were founded by single bands to release their own music grew bigger, published other artists and reached a greater popularity than their punk predecessors. The most important independent hardcore labels are Dischord in Washington, D.C., Revelation in New York and SST in Los Angeles.
The early hardcore bands in California included Black Flag, the Descendents and about a handful of other bands who would become known in the developing national and international scenes. West coast hardcore is described as carrying a “fuck everything” attitude in their lyrics, which, in Dirk Buddes opinion, was reflecting a need for “fun, action and entertainment.” A tour through California by the Washington, D.C. band Teen Idles and networking within the scene exported California hardcore, i.e. Black Flag and the Descendents from Los Angeles and the Dead Kennedys from San Francisco, to the capital in 1980. Bands there would write lyrics that were less fun-oriented and more political and critical of society, meeting the needs of a community that did not consist of skaters and surfers like the west coast scene. The D.C. scene quickly became regulated by different rules and, with straight edge, developed a subculture within the subculture that needs to be discussed separately.
Chapter Summaries
Introduction: The author introduces the conceptual framework, sources and questions guiding the comparison of youth cultures.
Theory of Subcultures: This section considers approaches to punk and hardcore, including ideas associated with Dick Hebdige and Greil Marcus.
Punk and the Reagan Administration/ Conservative Politics: The paper discusses punk opposition, political activism and the effects of commercialization on the scene.
From Punk to Hardcore: This section traces the emergence of hardcore and compares developments in California, Washington, D.C. and New York.
Straight Edge: The author examines straight edge identity, its symbols, lifestyle and relationship to hardcore.
Emo/ Emocore: This section introduces the contested terminology and origins of emo.
Online Interview with Andy Greenwald, Author of Nothing Feels Good: An online exchange addresses commercial success, gender and changes in underground culture.
Conclusion: The author reflects on mainstream incorporation, changing political contexts and the development of subcultures within subcultures.
Keywords
punk rock, hardcore, straight edge, emo, youth subcultures, subculture theory, Dick Hebdige, Reagan administration, political activism, commercialization, independent music, Washington D.C., New York, song lyrics
Frequently Asked Questions
What is the paper about?
It examines American punk and related youth subcultures from the 1980s onward.
What are its central themes?
Its themes include subcultural identity, political engagement, regional hardcore scenes, straight edge, emo and commercialization.
What is the main objective?
The author seeks to explain similarities and differences between the scenes, their changes and continuities, and their relationships with politics.
What research approach does the author use?
The paper combines a review of academic and popular writing with discussion of song lyrics and an online question-and-answer exchange with Andy Greenwald. It draws on Dick Hebdige’s theory of subcultures.
What does the main body cover?
It moves from subculture theory and punk politics to hardcore, straight edge and emo, concluding with the Greenwald exchange.
Which keywords characterize the paper?
Key terms include punk rock, hardcore, straight edge, emo, youth subcultures, political activism and commercialization.
How does the paper compare regional hardcore scenes?
It discusses scenes in California, Washington, D.C. and New York, including differences in music, social settings and political concerns.
What does the paper say about the straight edge X?
It describes the X as a community symbol and discusses its connection to markings used for underage attendees at concerts.
What topics are discussed with Andy Greenwald?
The exchange addresses attitudes toward making money, gender in emo and the influence of technological and cultural changes on underground communities.
- Arbeit zitieren
- Beate Gansauge (Autor:in), 2005, The Punk and Hardcore Youth Subcultures in the USA Since the 1980s, München, GRIN Verlag, https://www.hausarbeiten.de/document/53776
