Rock in the Suburbs: Why Punk Moved Out of the City and Into the Cul-De-Sac

punk

With unaffordable Progressive Disneyland hell-hole cities like San Francisco’s predictable cost-of-living increases and perverse real estate inflation driving out all but the wealthy and well-connected, the bright lights don’t beckon young punks like they used to.

Shows like that are increasingly common in Santa Rosa, and it has a lot to do with the prohibitive cost-of-livingpunk-sneer in nearby San Francisco. “I had every intention of moving down to the city,” said Ian O’Connor, 23, who organized the gig.

[Read the full story here, at The Guardian]

“But when the time came, it was too expensive.” Instead, in the last three years, he has booked dozens of all-ages gigs in Santa Rosa, mostly at unofficial venues: detached garages, living rooms, lobbies of sympathetic businesses. The scene thrives on the participation of people like him, area natives in their early 20s who, not so many years ago, would’ve likely moved an hour south to Oakland or San Francisco.

O’Connor stressed that though Santa Rosa is relatively affordable, the local punk scene faces challenges that cities with established reputations lack. “If you’re in the big city, you can sort of just jump into the stream,” he explained. “If you’re in a small town, you have to get down on your hands and knees and dig a ditch so that the water can run.”

“I had every intention of moving down to the city. But when the time came, it was too expensive.”

— Ian O’Connor

One hallmark of punk’s inception in the Bay Area and throughout the Pacific northwest was the notion of cities as places of possibility, so hollowed out by eroding tax bases and selective civic neglect that they seemed “deserted and forgotten”, as music journalist Jon Savage wrote of his 1978 trip to report on San Francisco punk bands such as Crime and the Dead Kennedys. “It was there to be remapped.”

punk-mouth

But with the same cities stricken by intensifying affordability crises – premiums on space that make somewhere to live, let alone rehearse and perform, available to a dwindling few – they don’t beckon young punks like they used to. And though reports of music scenes’ deaths tend to overstate, news of shuttering venues (see eulogies for The Smell, The Know, and LoBot) deters some of the intrepid transplants needed for invigoration. Dissipating metropolitan allure, however, helps account for the strength of scenes in outlying towns.

“The people who before just came to the shows are now setting them up. It’s been pretty astounding in terms of genuine participation…We could move and struggle somewhere else, but I think there’s a lot of people who’d like to see Santa Rosa become something like Olympia.”

— Ben Wright

In Santa Rosa, Acrylics are at the center of things. The five-piece, which recently announced a forthcoming record on leading west coast punk label Iron Lung, boasts a lashing and cantankerous sound, with staccato new-punk-250turnarounds and nervy guitar leads. They share members with a constellation of groups, including tightly wound punk outfit Fussy; sturdy hardcore units Rut and Service; and the dynamic noise-rock band OVVN.

“People in Olympia don’t think moving to a bigger city would be daunting – just dumb. Why pay five times the rent?”

“The people who before just came to the shows are now setting them up,” said Ben Wright, 24, who recorded recent releases by most of the aforementioned groups and plays guitar in Acrylics. “It’s been pretty astounding in terms of genuine participation… We could move and struggle somewhere else, but I think there’s a lot of people who’d like to see Santa Rosa become something like Olympia.”

Scott Young, 28, grew up in the Pacific northwest and moved to Olympia, Washington, in 2006. Until recently, he played bass in Gag, a winkingly scabrous hardcore band that’s lately influenced the genre significantly. Corey Rose Evans, 23, moved to Olympia from the Bay Area in 2010 to attend Evergreen State College and eventually joined both Vexx, a raucous foursome composed of inventive, tactile instrumentalists and a mightily expressive singer; and G.L.O.S.S. (“Girls Living Outside Society’s Shit”), a blistering and bold hardcore outfit that foregrounds transgender issues and skewers reformist politics. The scene is decidedly autonomous, centered around small labels and self-organized gigs.

Young and Evans separately explained that despite Olympia’s outsized impact on independent music – genesis of riot grrrl, outpost of indie-pop, headquarters of K Records and Kill Rock Stars – there’s still a strong sense that every participant in the punk scene is integral, not unlike the less developed community in Santa Rosa. The scene is decidedly autonomous, represented by small labels and unsanctioned venues. Young lamented that ever since Ben Trogdon, who publishes the underground broadsheet Nuts, moved to New York a few years ago, “No newsletter or printed material has really filled the void.” Still, he reckoned, “Olympia does feel like it has the sense of freedom or possibility that used to exist more so in the city.”

In a widely publicized Instagram post explaining the band’s decision not to work with Epitaph Records, G.L.O.S.S. vocalist Sadie Switchblade ended on a similar note, one that resounds throughout small-town punk scenes: “What I’m trying to say is that we don’t have to jump into their world, we can create a new one.”

Evans, who said she never paid more than about $100 in rent, put things more starkly…(read more)

Source: The Guardian



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