How did you become involved in the Punk Scholars Network? I became involved in the Punk Scholars Network after coming across the Call for Papers for the PSN conference in Bolton in 2017—I think I came across it as a retweet on my Twitter feed, and of course it caught my attention. I didn’t know much about the organization at that point but figured I would submit a paper about a punk festival in the States. At the Bolton conference, I was introduced to the PSN committee and other presenters, and immediately felt welcomed. Despite (or because of!) the long trek from Philadelphia to Bolton on several planes and trains with a layover in a frigid London hostel, I knew by the end of that conference that I had found my people! After meeting the committee and other attendees, I wanted to be more involved. While punk as a genre is relatively popular here, and there is a great deal of current research that continues to be produced on the subject, I never felt that my research fit in with what many of my colleagues were doing—seeing what the PSN has done and continues to do helps to reinforce the belief that punk (both past and present) should be studied and explored.
Why do you feel it's important that a network for those involved in the study of punk/punks exists? Because punk still exists! Around the world, there continues to be a passionate interest in punk and what it stands for, and I think the study of these experiences is vital. As the genre diversifies and expands in digital and in-person spaces, I think it is important to study how and why people identify with punk. I know I’m not the only one whose belief system and lifestyle was influenced by the ideologies of punk and having a network of similarly minded people is incredibly beneficial for sharing those stories, promoting research, and maintaining connections around the world. Having the network also adds further justification that punk is, and always has been, worth studying.
Tell us a bit about your own (punk) research? My research investigates what I call contemporary punk rock communities—the scenes and groups that continue to identify with the genre today, specifically in America. It’s a pretty broad topic, which thankfully means there is always something to investigate. Through a variety of qualitative research methods, the goal of my research is to gain a broader, more detailed understanding of the punk community that exists in America today. By applying theories of cultural studies and through a range of qualitative approaches, much of my research explores the ways that today’s punk scenes provide us with a look at the compelling juxtaposition between do-it-yourself values and an acknowledgement of outside forces that influence the scene, such as popular culture and social media. I recently published a paper that explored fans’ social media response to NOFX’s controversial statements at the 2018 Punk Rock Bowling Festival in Las Vegas, looking at civility in online spaces to further examine Facebook posts I investigated. Right now, I am researching the pervasiveness of conspiracy theories in America and the ways Bad Religion frames these belief systems in their 2019 song, ‘Do the Paranoid Style’.
What is your connection to punk/background in punk? I began listening to punk in the early 2000s and my introduction was aided by MTV and access to questionable downloading platforms like Napster. As a 12-year-old in the suburbs with very little access to anything punk, I had to rely on many mainstream outlets to get my music, which included stores like Best Buy and FYE, the most accessible places to buy punk CDs at that time. After hearing about bands like Blink 182 and Sum 41 on MTV, I would spend afternoons after school trawling the internet for any information about other bands that were out there, making mix CDs that eventually ended up on my iPod as I got older. My parents encouraged my interest in punk (maybe not encourage, but they definitely didn’t discourage), and while she might not at admit it today, my mom lied to the school nurse about my having a doctor’s appointment so I could skip a softball game to see Midtown and Thrice in Philadelphia on a school night. Enabling my interest from the start!
When I was in high school (mid-2000s), the emo/screamo thing was very popular. While not exactly the music I listened to, I would attend many of the shows that were organized in church basements and VFW halls. Sometimes, we would get lucky and bigger touring bands would come to the now-defunct music venue in Allentown. I was fortunate enough to see bands like Bad Religion, Social Distortion, Less than Jake, Alkaline Trio, and Saves the Day all within a few minutes’ drive from where I grew up. Having a driver’s license also meant more shows and more access to music—friends and I would drive to the local record store in Allentown and travel to Philly to see shows. We drove down to see bands like Rancid, the Bouncing Souls, and Off With Their Heads perform at the bars, venues, and church basements in the city. On several of these occasions I learned the hard way that the Philadelphia Parking Authority does not care if the show runs on punk time—you better make sure the parking meter doesn’t run out while you’re at the show. Philadelphia Parking Authority gripes aside, I have always felt a part of the Philly punk scene and what it represents, which is one reason why I haven’t left. COVID times excluded, there’s always new music to listen to or a show worth checking out, and I’m looking forward to seeing what the future holds for the Philly scene.
Ellen Bernhard is Assistant Professor of Digital Communication at Georgian Court University in Lakewood, New Jersey. Her book, Contemporary Punk Rock Communities: Scenes of Inclusion and Dedication was published in 2019.