Youth of Today In the "School of Rock" era, it's never been easier to be a punk kid. Is that a good thing?

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Youth of Today (slideshow)
Photography by Darrow Montgomery

As he shoves a stage-crasher back into the circle pit, Andrew Salfi’s eyes bulge from his skull.

The Black Sparks frontman releases an eardrum-bursting yelp, like one of Jello Biafra’s punk-preacher come-ons. His bandmates unleash an elastic, art-tortured instrumental worthy of Fear or X-Ray Spex. Three feet below, disembodied limbs jut out frantically like a scene out of Kill Bill. One sweat-soaked fan steps out of maelstrom—only to pour an entire bottle of water on the ground, throw himself into the puddle, and send droplets flying as he rolls around like an overheated dog.

This is the friendliest, most sugar-crazed circle pit I have ever seen.

“I want to see the older people moving around,” Salfi shouts into the mic over a pummeling crunch of chords.


He’s talking about the portion of the crowd that consists of people in their 20s, the ones clustered motionless along the walls of St. Stephen and the Incarnation, the 16th Street NW church where 25 years ago Fugazi played its second gig. Salfi, by the way, is 11. The rest of his bandmates are 13 and 14.

Tonight’s concert is a benefit organized by Positive Force. The longstanding D.C. punk-activist collective has for 27 years hosted performances protesting against racism, hunger, street harassment, and innumerable other worthy causes.

The evening’s slogan: “Fuck Ageism.”

Ageism? Seriously?

To Those About to Rock (We Take Visa and Mastercard)

School of Rock DC Founded in 1998, School of Rock has locations in Ashburn, Vienna, and Silver Spring. They offer a variety of group programs (“Rock 101”; “Indie Band”) and often stage free, dubiously themed concerts, like “‘80s Rock!” and “Frampton and Beyond!”

Bach to Rock Former middle-school teacher Jeff Levin started the kid-centric East Coast Music Production Camp in Bethesda in 2002. A decade later, it’s evolved into the six-location chain Bach to Rock, which offers such varied programs as “Glee Club” and “Jam Band” (beard optional for prepubescent rockers, of course).

Beat Refinery’s DJ Summer Camp Housed in Bethesda’s Bach to Rock location, Beat Refinery provides hands-on lessons for DJs of all ages and experience levels—including a summer camp specifically for kids 10 and over.

Girls Rock! DC A week-long crash course for girls ages 8–17 run by volunteers. Campers learn how to play an instrument of their choice, form bands, write their own songs and, at the end of the week, perform on 9:30 Club’s stage.

As far as rallying cries go, it’s not exactly “end apartheid”—especially in the rock scene context where ageism refers not to, say, denying jobs to older workers but, rather, to things like not allowing teens into rock clubs. The cause, in fact, makes the benefit seem even more incongruous: As it happens, it has never been easier to be a punk-rock kid.

Sure, the 2000s may have been the era when pop music hit its infantilized nadir (thank you, Kidz Bop). But the last decade also saw the explosion of a massive infrastructure that treats rock ‘n’ roll as a serious extracurricular activity.

Like any after-school club that lures children of the affluent, rock has become a locus of up-to-date pedagogy. School of Rock, Richard Linklater’s film about a washed-up guitarist who finds raison d’être by teaching middle schoolers to impersonate Angus Young, may have played it for laughs, but rock schools have in fact proliferated. The Washington area features three School of Rock locations and six regional outposts of Bach to Rock. There are also empowerment-driven summer programs like the nationwide Willie Mae Rock Camp for Girls. A nonprofit, the All Ages Movement Project, has helped build a network of kid-friendly show spaces around the country. There’s even a whole subgenre of how-to-rock books—like the Chicago journalist Jessica Hopper’s The Girls’ Guide to Rocking—that are marketed to kids.

D.C., especially, is a place where ageism has rarely been an issue. No city’s punk tradition has shown more dedication to the empowerment of youth. The riot grrrl movement of the early 1990s—for which historians give Olympia, Wash., and Washington, D.C., credit—began as a means for amplifying the voices of young women who felt marginalized by punk culture and the outside world alike. Anyone who forgets that D.C. hardcore began as a youth movement needs only to recall the names of some of its key players: Youth Brigade, The Teen Idles, Minor Threat. To this day, rock venues like 9:30 Club and Black Cat—both owned by veterans of the ’80s scene—let kids see live music because of a simple idea The Teen Idles brought back with them from a show in San Francisco: marking two Xs on underage hands. But watch the old punk rockers sitting on picnic blankets and playing with their own children at Fort Reno in the summer, and it’s easy to forget that Ian MacKaye and Jeff Nelson’s first teenage band, The Slinkees, had a song that went, “We don’t eat health food/Cuz Cokes and Twinkies are great.”

The town that birthed The Black Sparks isn’t exactly the same place. In 2012, punk-rock parents send their punk-rock kids to old punk-rock peers to learn punk rock’s ABCs. This parent-approved infrastructure may be good for Salfi’s technical prowess, but it raises entirely new questions.

Watching Salfi and the band play, it’s easy to dismiss them the same way oldsters maligned the youthful Mozart in Amadeus: A “trained monkey,” precocious composer Antonio Salieri’s father calls him. Elemental, inherently rebellious music like punk isn’t supposed to be taught. So do we write off kid bands as circus freaks? Or is kids’ rock, when its trotted out for audiences who are old enough to vote, worth taking seriously? It might be just an academic question, except that, in punk culture, authenticity is the ultimate standard.

Thus on the rare occasions that 21st century kids’ bands do get press, they strike a sensitive nerve. When a Washington City Paper blog post praised The Black Sparks’ 2010 performance at Fort Reno, the comments section flooded with haterade. “Can you say Bach to Rock?” one commenter wrote. “No punk would ever be caught dead in a puppy mill like that.”

Back at St. Stephen’s, a tremor moves through the crowd as the band launches into its crowd-pleasing pogo jam, “Mr. Panther.” Nanoseconds later, eight fans have climbed onstage, joining Salfi in a routine of not particularly punk-rock—and in fact, decidedly Rockettes-style—high kicks.

An acquaintance who’s around my age leans over, offering a comparison to The Dismemberment Plan’s classic get-on-the-stage anthem: “I guess this is their ‘Ice of Boston.’”

After The Black Sparks’ set, I find Pat Walsh, a Positive Force member who organizes many of its benefit shows, to ask him if the “Fuck Ageism” slogan was his idea. “No, I didn’t book this show,” he says. “Francy did.” He points out a young girl with inky black hair who’s chatting with one of the bands. I definitely wasn’t expecting a 16-year-old promoter.

Ageism. Oh.

Our Readers Say

I don't understand why it's a big deal if "punk rockers" are taking music lessons. Every successful musician learned their instrument from somewhere. Why do you see it as a bad thing if it's from a teacher at a school or a teacher in the home? Or from online videos? This article is unfairly snide about music schools.
"Although The Black Sparks have managed to build a small adult following in D.C." <- that's us!
Fascinating article, Lindsay! One clarification: the venues and organizations that make up the All-ages Movement Project network aren't franchises or branches, exactly--they're fully independent and autonomous groups that have chosen to link up with us to show our collective strength and share resources and ideas. (Nitpicky, i know; I just never want to accidentally seem like we're taking credit for local organizers' genius and innovation and hard work.)
I am one of the guitarists best friends, and I know for a fact that he started playing guitar because his parents couldn't get in to it. It was an opportunity for him to get away from his family life. He joined the band, and they only signed up for Bach to Rock because it was an opportunity for us to improve. They write their songs by themselves.
The fact that they're starting young is awesome. A few years from now these kids will be organizing shows and in the best bands in the city. Quit hatin.
Fantastic article, Lindsay! I don't see this as snide about music schools, but you have to recognize that the financial burden of this world does lead to a certain class-based exceptionalism. These kids are doing great things I support very much (including a brief quote in this article), but that's not to say every kid has the same opportunities and that there aren't still barriers. Now, it's up to us lame oldsters to provide these opportunities to as many folks as possible and break down those barriers. Fuck ageism.
I'm an aging fan of punk rock, but my kids are learning classical music and how to read and play music for real (their choice - really). It sounds rebellious to introduce YOUR bands to your kids, but I hope they reject my stuff or at least embrace it on their own terms. The idea of forcing it down their throats at the earliest and most formative age seems kind of doctrinaire . . . sort of like much of the DC punk scene.

Is actualizing yourself through your kids any different when it's punk rockers than when it's yuppies clad in loafers and Ralph Lauren? It seems so bourgeois and so unpunk.
Ageism? More like punker-than-thouism. Let the chilluns boogie
I think the idea that "it's easier than ever" to be a punk kid is only partly true. DC has strong historical traditions of inclusivity to draw from---but those can be threatened if we're not vigilant about preserving them (remember the 2007 attempt at banning all-ages shows?). And in the rest of the country, many local ordinances and overzealous public-safety officials make it impossible to have all-ages events. This is especially true in more conservative areas where old stereotypes about young people and the music they listen to are very much alive. Meanwhile, access to affordable cultural space remains a big challenge, especially as government support for arts and culture has been scaled back in the recession.

...and then of course there's the issues of inequity of resources, which makes a huge difference on whether a kid has access to cultural space to build a generative music community. Racial inequality plays into this too.
"The Black Sparks"

i stumbled upon them snidely
they tore it up so severely
i bought the CD.
One more thing. Lindsay hints at this in the article, but I want to suggest that "authenticity" isn't the best framework to think about youth self-expression or DIY punk. A better framework is "participatory community." While these days there might be more opportunities for kids to learn how to play instruments, it's still very difficult to find, build and sustain community. This is partly because participatory community requires access to physical spaces where young folks are allowed sufficient agency to carry out their ideas--and that's why it's still hard to be a punk kid (or a hiphop kid, or a weirdo electronic noise kid, or a chillwave kid or whatever). Fredericksburg All-Ages, mentioned in this piece has been going 5+ years but still doesn't have their own dedicated show space.

OTOH, once they know they can, young people will do amazing creative genius stuff regardless of whether adults are supportive or dismissive. Adults' opinions only really matter insofar as we have the power to build or dismantle systemic barriers that prevent everyone from having access.
lol @ these amazing toolbags in the comments

This rock school stuff is a great racket because anyone who hates on it is accused of hating kids' bands and their being empowered through music. The only comment of value pointed out that this is a very clear example of upper-crust class advantage, where your little game of playing rock star is enabled and backed by rich parents and big business


I don't hate on the kids -- I hate on the parents who are insecure enough to need their kids to seem cool by their personal standards. It's encouraging to hear that some of these kids pursue this despite their parents preferences and others go to great lengths to engage in a community largely geared toward a slightly older demographic which shows real dedication.

But comments like "Salfi’s mom tells me her kids have been “listening to Fugazi since they were babies.” " like that conveys some cred -- are you serious? Do you think they've got the equivalent of some kind of punk rock headstart? Forget breastfeeding -- universal prenatal Fugazi! Did your parents introduce YOU to Fugazi during infancy? I'd be suspicious on that point alone.

Personally, I'm hoping my kids are total nerds. Not that punk rock is terribly dangerous, threatening, or relevant these days
Punk has been moribund for 30 years at least. What ever happened to kids rebelling against the stuff their parents liked?

On the main subject though - it's important to enable and encourage young people to be engaged and involved with positive projects they like that they can take pride in and gain confidence from; that's a good way to get 'em to adulthood sane, empowered and self-actualized. I can relate to all the haters too, but that's just stabs and jabs from the sidelines.
I will say, I was bummed by the unfortunate cover subhead assigned to this piece; that editorial framing--"kiddie-rock industrial complex"--badly undercuts the anti-ageist anti-cynical thrust of the article. It's also hella inaccurate to imply that people are interested in this stuff primarily as a money-making enterprise. While there may be big bucks in making kids learn their parents favorite Pink Floyd songs, DIY youth-led venues and shows are the farthest thing possible from a cash cow--they're usually run by hardworking volunteers on a shoestring budget--or no budget at all.
The part about us listening to Fugazi when we were little was wrong, I donk know why my mom said that. I didn't start listening to it until I was 11, but I did liten to the clash a lot when I was little :-)
Also another thing, we, The black sparks practice in my basement a lot and were going to stop going to Bachtorock soon
Kids have been in bands since bands have existed. We all started in middle school in the early 90s trying to write songs like bands that we liked, for mine it was Nirvana, The Pixies, Sonic Youth Etc, for others of my friends it was Ten Yard Fight, Bloodlet, Snapcase etc. We played shows to kids who were our age and our parents. A great example of a "high school" band who played main stage of black cat was Bird Noises about 8 years ago. They were better than any band I have been in or will be in, they signed to Ruffian Records and their distro was with Dischord they weren't out of HS yet.

My point is "there are two kinds of music good music and bad music and that depends on the listener" -miles davis, not how old the members are.

Nathaniel, you're so cute (re: comment 17)!

Auntie Colette ;)
Good point @Kevin. There's no money to be made in indie music. Even the very most successful gain little more than sustenance. Nobody gets rich.

Good to see some passion from these kids. It takes practice and dedication, and their age makes them easy targets for cynicism, yet some of them are trying to work through that to be taken seriously.

@Tim -- also great point on age. Simon Fair Timony (Half Japanese Jad Fair's son) was pre-teen when he led the Stinkypuffs and Kurt Cobain was a big admirer. And nobody criticized an 6 year old violin prodigy like Midori when whe made her first professional appearance or when she quit Julliard at 15.
As an ex-punk rocker (who still plays) married to a music exec, we always exposed our kids to whatever WE were listening to, assuming it wasn't too loud or profane. We were able to provide lessons (pro and from me) to our kids, but if they didn't want to play, cool. Now my teenage son is a promising bassist headed to a great music-centric college and my daughter is a very talented DIY filmmaker. My son did a stint in one of the NYC Rock Schools, and it was a good place to meet peer players, but ultimately preferred to DIY his own band vs. a pre-constructed one. I think, like anything else, to the extent parents push their kids to do something based on the _parent's_ needs or desires, it will backfire. If the kids truly dig it, they'll find their own way.
Bach to Rock provides a good start and many opportunities for many new young bands, like letting them play at the 9:30 club so kids can get a feel for a real show. With out it The Blacks Sparks wouldn't be as musically good, we wouldn't have been able to play many shows and, well, we probably wouldn't be in this article at all. The staff at Bach to Rock is very good, and having someone to keep your band focussed and help out makes the practice much more efficient and worthwhile. It may be a bit pricy but the atmosphere is good there and it's well worth the money. Nayan and the other staff has been a huuuuuuge help to the band and with out them we simply wouldn't be as good of a band as we are now.

A few points...interesting that we "rock parents" are referred to as rich and affluent. I wish it were so....we are just typical Montgomery county parents....pinching pennies for all the music lessons we offer our kids (which includes classical, traditional and jazz instruction outside of the punk rock stuff). We nerdy parents aren't living out our hopes to be hip through our kids....the kids do this rock because THEY enjoy it. I think the advantage this rock education has over classical music is that the song writing process is so collaborative and such a great learning experience. But I would be just as proud if my sons were classical violinists...or bagpipe players, or whatever makes them happy.

About rock of The Black Sparks is also a pretty dedicated studio artist. I have never heard rumblings in the visual arts community about his art being" less authentic" because the parents pay for his studio time. There is a strong mentor/protege tradition in all art...throughout human history. The Black Sparks formed in third grade and practiced on their own for a year or two before going to Bach2Rock to seek a mentor.

The "Fugazi" comment, is a snippet from a longer point I was making to the journalist about the broader access that today's kids have to music because of YouTube, iTunes, etc. My point was that when I was a teen, all new music except top 40 was very regional. It took some travel and connections to get to know the underground music movements. Now when people decide they like a certain kind of music, they can easily access a wide range of artists in that genre. The enables kids to be pulled in a certain musical direction at a younger age, and provides an escape from bubble gum pop.

I am surprised the
Mothers, don't raise your babies to be rock stars -- otherwise they'll turn into confused simpering entitled wannabes like these boys:,28804,2094921_2094923,00.html

“I'm not talking about a <<Fugazi>> song, written 100 years before I was born.
100 flowers bloom, 100 schools of thought contend, c'mon baby,
let's hang around, they're talking about the round and round,
but who's got the real Anti-Parent Culture sound?”

Seems like a manufactured parody. When these kids rebel they're gonna go gangsta or perhaps get into Swedish doom metal bands, carve pentagrams on their chests and dream of defecating on church alters... a few may go the route of Alex P. Keaton.
So, to be 'kid punk' there are no rules, you make them up; but taking lessons is wrong?
The kids are alright!
I agree with Kevin about the importance of misusing the word 'authentic'. It seems a large part of this debate has turned into 'authentic' versus 'aesthetic'. "Authenticity" is the wrong way to conceptualize whether these kid punk bands, like the Black Sparks, are the real thing or not. Authenticity to what? The DIY punk movement that arose in the 70's/80's? That was a distinct reaction to those times, the cultural ambience, Reagan, and the fact that there was essentially NO built in underground music network, let alone a 'scene' of any kind. To compare modern-day kid punk bands and their 'punk authenticity' with their parents' punk ideals or to ' the true DIY aesthetic' is just the wrong way to think about this issue. I understand the cynicism about kiddie punk farms from the class system perspective, in that it alienates certain parts of society from being able to participate in that kind of BachtoRock music experience. However, that alone is not a good enough reason to decry kid rock bands like TBS as inauthentic because the simple fact of the matter is that the 'scene' has changed, access to music has changed, and we as a society and world are dealing with different issues than we were dealing with 30 to 40 years ago. Not to mention, to decry something as inauthentic based on a particular model of 80's punk is the most anti-punk thing you could do. After all, anyone can start a band regardless of age, race, gender, or class. It's up to the kids to decide if they're truly passionate about it to continue and make something out of the experience of being in a band and creating your own, personal music.
I'm a friend of the singers. I was the "sweat soaked fan who poured water all over himself and rolled like a dog". The show was amazing and I hope to see more great nostalgic punk shows that harken back to the golden age.
I'm almost 50, played in a bunch of original-material rock bands back in the 80s, might get back to it one of these days. I also remember how dismal the rock scene was at my high school -- the few bands that existed played almost all covers. That was the model everybody followed. It was so liberating to start playing material I helped write, that no one on Earth had ever played, mediocre though it may have been. Kids who are encouraged and equipped to write their own stuff are much richer for it, even if they get some help from professionals or some prodding from mom and dad. So what? Parents have always tried to coax their kids into activities the parents consider worthwhile, or prestigious or cool. That's fine, so long as the kid is free to move onto seemingly greener pastures. I encourage my 9-year-old to listen to music I like (metal, punk, 50s rock, country), simply because it's good. I also let him listen to anything that strikes his fancy (early 60s rock and soul, 70s disco, current Top 40). So maybe in 5 years he'll be playing his own stuff that sounds like a cross between Slayer and Katy Perry. That prospect excites and scares me -- just as it should.
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