Punk music is associated with gritty urban life – until that urban life becomes too expensive:
Shows like that are increasingly common in Santa Rosa, and it has a lot to do with the prohibitive cost-of-living in nearby San Francisco. “I had every intention of moving down to the city,” said Ian O’Connor, 23, who organized the gig. “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…
One hallmark of punk’s inception in the Bay Area and throughout the Pacific north-west 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.”
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…
According to Samantha Gladu – bassist in the feminist, wrestling-themed hardcore band Macho Boys and chief advisor to state senator Chip Shields – recent revelations about what a state investigation found to be cripplingly over-burdensome nightclub regulations have done little to calm the Portland punk scene’s nerves: “Rising rents and recent reporting on the city government’s apparent selective regulation for venues leave punks with the impression that not only can they not afford Portland, they aren’t part of some officials’ vision for Portland.”
Given that more urban features – including denser housing, more non-white and less wealthy residents, and urban issues – have moved to the suburbs, it isn’t too surprising that artistic ventures could move there as well. Yet, I imagine this is not easy for many artists or others who dislike the suburbs and celebrate cities. Can places that are still criticized for conformity, whiteness, and materialism nourish new artistic ventures? Can suburban communities tolerate people who go against convention or who seek space to spread out and explore? If given the resources, I imagine that most bands would want to be in the big city where there is more energy, similar artists, and venues.
However, this represents an opportunity for suburbs to pursue a more creative vision. Many suburbs hold and promote festivals and fairs committed to the arts, both as a way to generate revenue as well as a way to signal openness and engagement. It is something different to have permanent venues devoted to some ventures; could a middle to upper-class suburb give its blessing to a punk music music site? Or a collaborative of experimental artists? In other words, if cities and/or certain neighborhoods are too expensive, numerous suburbs could join the competition to attract musicians and artists and possibly transform their own communities.