Punk After the Pistols: American Music, Economics, and the Politics in the 1980s and 1990s

Goshert, John Charles. “Punk After the Pistols: American Music, Economics, and the Politics in the 1980s and 1990s.” Popular Music and Society 24.1 (2000): 85-106.

http://pdfserve.informaworld.com.ezproxy.library.uq.edu.au/784610_751308601_795304292.pdf

Another argument against the unfaithful and often problematic depiction of punk in academic discussion, comes from Goshert’s article ‘Punk After the Pistols: American Music, Economics and Politics in the 1980s and 1990s’, as frequent references to commercially successful punk products in academia, defy the very nature essence of punk- “as the moment punk enters pop culture- it ceases to be punk” (85). Offending authors and publications are identified and reprimanded upon evidence of punk’s DIY ethic being supported with examples of bands signed or affiliated with major labels and managers.

Goshert supports and builds from O’Connor’s theory of localized ‘scenes’, acknowledging the various forms of punk subculture according to geographical location, and more specifically, individual bands- arguing that the success and ethos of Greenday or Nirvana cannot be appropriately aligned with the motivations of more obscure, independent bands.  

The article goes on to explore economy and industry, specifically within the backdrop of American punk in the 1980s and 1990s, as independent record labels (most notably, Dischord) assisted its progression yet simultaneously maintained its authenticity. These labels were both philanthropic towards social and political causes (encouraging long-term change beyond band aid solutions) as well as being creatively accommodating, allowing artists to autonomously control their sound, image, merchandise and touring schedules- unlike major labels commodifying the punk ethos.

Dischord Records Logo. Web. 16 May 2011. 

Widely successful independent band, Fugazi, are used by Goshert as a prominent example of mainstream popularity destroying the very essence of punk. The lyrics of Fugazi's 1995 song, 'Birthday Pony', reflect this departure and their subsequent frustration, as the band could no longer exist as they had originally intended.                                                     

"This is a birthday pony

This is a strange kind of rest

Because I feel like a guest when I'm right here at home

I'm not right here at home

I opened up these accounts

All these separate accounts

Because I can't comprehend the single ride to the end

I needed something to do and so I split into two

But now the pattern takes hold

I find I'm losing control

Laugh boy

I don't want to be free

This is a birthday pony"

MacKaye. Birthday Pony, Red Medicine. Fugazi. Fugazi, 1995. Cassette.

Finally, a historical point of note is the lyrical digression from oppositional to avant-garde, as the end of the Reagan years marked the end of a clearly identifiable national ‘enemy’ (91).

Mosher, Mike. Rock Against Reagan. 1982. California.

Goshert’s perspective has proven beneficial to my own academic research, allowing me to consider not only specific sites and participants of subcultural activity but also their position in the configuration of punk as a whole. Since reading this article, I will question the relevance and authenticity of commercially successful artists when selecting examples of punk, as the author effectively maintains that entry into mainstream means a departure from punk.