{"id":310240,"date":"2025-11-22T03:41:33","date_gmt":"2025-11-22T03:41:33","guid":{"rendered":"https:\/\/peraltafinancing.com\/american-history\/marlen-rios-hernandez-on-robert-fitzgeralds-hardcore-punk-in-the-age-of-reagan-the-lyrical-lashing-of-an-american-presidency\/"},"modified":"2025-11-22T03:41:33","modified_gmt":"2025-11-22T03:41:33","slug":"marlen-rios-hernandez-on-robert-fitzgeralds-hardcore-punk-in-the-age-of-reagan-the-lyrical-lashing-of-an-american-presidency","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=310240","title":{"rendered":"Marl\u00e9n R\u00edos-Hern\u00e1ndez on Robert Fitzgerald\u2019s Hardcore Punk in the Age of Reagan: The Lyrical Lashing of an American Presidency"},"content":{"rendered":"


\n<\/p>\n

\n
\n

The Book<\/h4>\n

Hardcore Punk in the Age of Reagan: The Lyrical Lashing of an American Presidency <\/p>\n

The Author(s)<\/h4>\n

Robert Fitzgerald<\/p>\n<\/p><\/div>\n

\t\t\t\t\t\t\t\t\"\"\t\t\t\t<\/p>\n

Robert Fitzgerald\u2019s Hardcore Punk in the Age of Reagan: The Lyrical Lashing of an American Presidency <\/em>(2025) provokes readers to analyze lyrics from a variety of punk bands across the U.S. and consider how those bands challenge the Reagan administration, making this book a time capsule fitting of punks living through the Trump Era.<\/p>\n

Fitzgerald\u2019s lyrical analysis about punk culture in the 1980s are contextualized by concurrent political events which is also the lens through which readers can take their favorite stanzas from their favorite band\u2019s songs and turn them into mini history lessons about the infamous Reagan Era. The lyrical analysis in this book is intellectually rigorous by way of the call and response style of each chapter\u2014opening with an important historical moment in the Reagan presidency followed by the ways different punk bands expressed their distain. From critiquing policing, religion, war time etc., this book creates a public facing and accessible history for the general public, punk fans, and scholars of punk history.<\/p>\n

As a queer Chicana and oral history punk scholar, I have noted that books about punk history are often obsessed with origin. While there is no one singular origin that fits all, there is no excuse, especially now, to disregard women of color and LGBTQIA+ contributors within punk life and culture. The singular origin story of punk tends to satisfy white male authors where New York is the epicenter with The Ramones, or other curated genealogies starting with white male artists which encourages punk as homogenous and synonymous with maleness. The ongoing excuse within these male-driven archives is that women were allegedly \u201cnot around\u201d or women were \u201cnot in bands\u201d in specific eras. Yet \u2013 according to my research \u2013 women have always been musicians, band managers, fans, girlfriends, \u201cgroupies\u201d or casual lovers, merch handlers, roadies, writers, landlords, and benefactors. This misnomer of women not being present within punk life means that there is a disregard to women\u2019s labor in these categories. Labor that went unpaid much like how the cult of domesticity is often pegged to women\u2019s gender roles for nothing in return. If this erasure is grounded in white women\u2019s experiences, then I task white punk male authors to urgently look within themselves, as writers of U.S. punk life and culture, why women of color are at the bottom rung of their expertise.<\/p>\n

Additionally, when speaking to the use of homophobic terms by hardcore bands in the 80s, the unearned straight privilege to say homophobic things is still respected. But when frontman H.R. of the D.C. band Bad Brains has one song touching on homophobia, he is labeled homophobic for life. There is a color line and a gendered one that creates the conditions through which straight white men can tease saying and doing homophobic and racist things for their art in a way that artists of color, in doing the same thing, get disproportionally reprimanded. Echoing the phrase \u201cwhen it\u2019s white, its right.\u201d<\/p>\n

I argue that while punk doesn\u2019t age gracefully overtime, it\u2019s less a question of \u201care these songs listenable today\u201d\u2014it\u2019s that white straight men within punk continued to make a profit and reinforce a rubric of cool<\/em> premised on the shock value of homophobia that guaranteed popular notoriety after the 1980s. The band FEAR is frankly the penultimate example of this. Similarly, regarding race and whiteness explored in Chapter Seven, \u201cGuilty of Being White,\u201d white privilege, in fact, creates the veil of marginalization without the material consequence of anti-black racism. The author is correct in that, no matter what, punk isn\u2019t excused for being racist, homophobic etc., but let us not forget that the longevity of these bands and songs is because punk archives and fandom still uphold sexism and anti-blackness. These pillars by which punk is reinforced allows for the mainstream acceptance that white men in punk can keep \u201cpushing boundaries\u201d or rather get away with being problematic, especially using the strictly in-community N-word. It\u2019s not a question of sensitivity, it\u2019s a question of nostalgia for a time before cancel culture when women, gays, and black people could be enveloped within white critiques of their own \u201cwhite guilt.\u201d<\/p>\n

Being fans and passionate historians of punk culture, whether we were there or not for the punk scenes we so revere and want to archive, must contend with push back. We\u2019ll never truly get it right, and just like this book speaks to the importance of hardcore punk within the Reagan administration, so must the rest of us make use of what we have and remember for others to push back on and appreciate. It\u2019s the punk rock thing to do.<\/p>\n

\n

About the Reviewer<\/h4>\n

Dr. Marl\u00e9n R\u00edos-Hern\u00e1ndez (she\/hers\/ella) is Xicana Punk Musicologist and Associate Professor of Chicana and Chicano Studies at California State University, Fullerton. She is also a former 2019-2022 UC President\u2019s UCLA Postdoctoral Fellow from UCLA. Trained in Ethnic Studies and Musicology, her research investigates the genealogies between policing and SoCal punk communities as told by queer Black, Chicana, Latina punk women and femmes in the aftermath of the counterintelligence programs (COINTELPRO). She is a founding member of PunkCon\u2013\u2013 a biannual conference celebrating punk scholars, activists, artists, musicians, and communities. Research interests include Chicanx Studies, Gender and Sexuality Studies, Cultural Studies with an emphasis on Film, Critical Ethnographies, Sound Studies, Hemispheric Punk Movements and Policing \u201cPost\u201d-COINTELPRO, Feminist Musicology, Punk Pedagogy and Archival Research Methods.<\/p>\n

\u00a0<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

The Book Hardcore Punk in the Age of Reagan: The Lyrical Lashing of an American Presidency The Author(s) Robert Fitzgerald Robert Fitzgerald\u2019s Hardcore Punk in the Age of Reagan: The Lyrical Lashing of an American Presidency (2025) provokes readers to analyze lyrics from a variety of punk bands across the U.S. and consider how those […]<\/p>\n","protected":false},"author":1,"featured_media":310241,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12032],"tags":[1082,204,3744,4170,9468,140391,37013,140389,17065,3627,18810,140390,5597],"dealstore":[],"offerexpiration":[],"class_list":["post-310240","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-american-history","tag-age","tag-american","tag-book-reviews","tag-fitzgeralds","tag-hardcore","tag-lashing","tag-lyrical","tag-marlen","tag-presidency","tag-punk","tag-reagan","tag-rioshernandez","tag-robert"],"yoast_head":"\nMarl\u00e9n R\u00edos-Hern\u00e1ndez on Robert Fitzgerald\u2019s Hardcore Punk in the Age of Reagan: The Lyrical Lashing of an American Presidency - 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