Anarchy and Punk Are No Match for Design

Beginning in 1970’s New York, Punk Rock flourished as an underground culture that continues to today. Punk was nurtured in a DIY (do it yourself) ethic that encouraged individual creativity and expression. From bands to ‘zines (magazines) to venues, participants have fashioned the Punk movement. Yet, amidst a climate of individualism and personal creation, unspoken rules have emerged to govern music shows. The concept of “show design” is evident at events regardless of environment. Venues vary from country-to-country or town-to-town. Sometimes shows are held in legitimate music halls, while more frequently, they are held in basements, dive bars and make shift art galleries. But, they all adhere to certain basic principles of organization that have evolved naturally into a consistent, recognizable design. The irony is apparent because the Punk movement came out of a desire to rebel against government, rules and mainstream life itself. Punk saw itself as synonymous with anarchy.

Punk has acquired a worldwide fan base. Watered down versions of this genre have been popular in the mainstream, with bands like Green Day, Blink-182 and most recently Fall Out Boy. On any given day there are hundreds of bands playing shows around the world. Despite the location, there are four aspects of organization that form the basis of the show design: the stage, the front row, the back, and the merchandise area.

Only Band members may occupy the stage while a show is in progress. The one notable exception occurs as an indulgence to fans who feel compelled to “stage dive.” The outer edge of the stage forms a sacred area. This is reserved for friends of the band – and groupies, if they are clever enough to charm their way in. Although a majority of these venues lack formal security due to their small size, very few people challenge the sanctity of the stage and surrounding area. Extreme fans, and those who want to connect with the band or performer, inhabit the front row of the audience. Aggressive individuals populate this area. They will, at all costs, try to get closer to the band (normally the singer) in order to express their admiration for the members. The area is often characterized by “moshing,” a form of dance (for lack of a better term) that incorporates limbs flailing around and a lot of kicking and punching. The name derives from the area in which it is preformed, the Mosh Pit. Many times when the Mosh pit is being formed the front line recedes into the middle of the audience – taking no prisoners. Less active listeners retreat to the back where they congregate near the merchandise or “merch” tables. The merch tables form the last area of organization. To be behind the merch denotes that you are either a friend, a manager or a roadie – all of which confer status and privilege. The inner circle or entourage of a band is seen in a similar, celebrity-like light. Even the drummer’s little brother gains instant respect if he’s selling band merchandise.

The organization of Punk events is a phenomenon that evolved spontaneously from apparent chaos to a consistently accepted code of behavior that may be called unplanned design. Whether the result of serendipity or an unknown psychological force that compels social organization, the design is definable, consistent and predicable.