Punk Sell Out

The idea of "selling out" when used in the punk rock world is something heavily frowned upon. What I plan to find out through this section is to understand and explore the definition and connotations that selling out entails. Understanding the DIY ethic allows an insight into the term of selling out, with it's adversity towards capitalism and corporations, it encourages, in the literal sense, a do it yourself attitude. This can be applied in many different areas in the punk rock scene, as well as within zine culture. In regards to punk, it encourages people to record their own records, make their own clothes and put on their own shows. In regards to zine culture, it encourages self-publishing, using commercially available printing equipment and techniques and hand to hand distribution. By recognising the ideals of the DIY ethic and what that entails, a betrayal of values can be interpreted through 'selling out' and it's understandable that to exchange your morals, principles and ethics for money, success and fame is something of a contradictory nature to the DIY scene as a whole.

To help better comprehend the idea of DIY and it's opposing concept of selling out, I've used Alistair Gordon's thesis, The Authentic Punk: An Ethnography of DiY Music Ethics (2005) as a key text in understanding the history and dilemmas within the DIY attitude and community. His exploration of the ethos was undertaken throughout the Leeds and Bradford hardcore punk scene and how the principles of the DIY ethos is relevant and applicable throughout many different aspects of punk rock, from venues to record stores to recording studios and the effect that has on the rest of the community. As Alastair Gordon explores the local scene in his area, he interviews a number of members from the 'scene', allowing him to delve deeper into the reasons behind the adoption of the DIY ethic into their lives.

Authenticity is a vitally important aspect of punk and DIY culture, Gordon finds out, due to the fact of many members' history before their involvement in the subculture. "Entering punk subcultural groupings rests on a fulcrum of disenchantment with the established world: a feeling of being at odds with one's peers, wishing 'cool' distance from them, or with society in general: in short a sense of difference. Where loneliness is produced by such feelings (conflict with parents, teachers, authority figures etc. ) it has the immanent potential to propel the individual to seek out and identify other peers who share the subcultural norms and values. But the opposite of loneliness, peer celebration, may prove the conditioning ground for punk." (Gordon, 2005) This statement explains that through a lack of connection with society, a sense of unbelonging and the desire to communicate with others sharing similar experiences led many of the interviewees into the world of punk rock and the DIY ideal surrounding hardcore punk in Leeds and Bradford. However, these case studies share a common knowledge and experience that is applicable on a much wider scale. There are many different reasons why people get involved with individual punk subcultures, but a deep misunderstanding of the world and the inability to fit into the 'norm' has led people to a way of life that through this deep connection has spurred an obsession to keep the ideals of the ethic pure and uncompromised.

However, there is a positive side to the argument of entering the industry culture. "Claiming that DiY cultural production is the only authentic form of culture, means that exclusivity is just around the corner: 'only' quickly becomes translated into 'elite'." By the 'elite' defining rules about what and what is not punk can be antagonistic towards the original intentions of the punk rock scene, to break rules and challenge boundaries. (Gordon, 2005) By denying association within the punk scene from fellow misfits, dictated by the 'elite', it can create an antithesis of the intentions of DIY. Using the involvement of the internet as an example, it's argued that this can disassociate many people from the original aims of punk and DIY, meaning that the music and the imagery can be interpreted without understanding the underlying ethics. (Hamlyn, 2013) However, by allowing this elitist attitude to dictate the nature of DIY and punk, on local, national and international scale, it can end with no participation in respects to music, zines, shows and a whole list of other DIY inspired projects. When involving something like the internet into a community based on pure ideals of do it yourself and the embrace of hand made culture, it can allow for better communication around the world, a huge source of inspiration and a whole community in itself passionate and focused in their ideals. This inevitable application of the internet and the opportunities it presents has meant many DIY enthusiasts are turning to the world wide web for inspiration, instruction and the potential of collaboration.

Alastair Robert Gordon (2005). The Authentic Punk: An Ethnography of DiY Music Ethics. PhD thesis, Loughborough University. p72.

Alastair Robert Gordon (2005). The Authentic Punk: An Ethnography of DiY Music Ethics. PhD thesis, Loughborough University. p10.

Alastair Robert Gordon (2005). The Authentic Punk: An Ethnography of DiY Music Ethics. PhD thesis, Loughborough University. p268.

Hamlyn, Daniel (2013). Interview with Naomi Girdler. 13th March 2013. Online.