![The Descendents' Stephen Egerton [left] and Milo Aukerman do their thing at Coachella in Indio, California, April 13, 2013](https://cdn.mos.cms.futurecdn.net/DdpYUDzKoAzLHkcexoMXQK-1920-80.jpg.webp)
In 1982, American punk rock was evolving at a pace matched only by the blistering bpms pounded out by defining East Coast hardcore bands like Minor Threat, Bad Brains and Misfits.
Down in the South Bay area of Los Angeles, though, a crew of four teenagers calling themselves the Descendents were perfecting a new take on the genre.
Stacked with speedy odes to decidedly adolescent concerns – unrequited love, greasy food and the specter of adulthood – the band unleashed their massively influential debut LP, Milo Goes to College, onto a scene saturated with aggression.
Clocking 15 songs in just 22 minutes, Milo landed like a sugar buzz as L.A.’s second wave of punk was cresting on the shoulders of Black Flag and Circle Jerks.
Unlike their more confrontational and controversial neighbors, the Descendents made melody and irreverent fun their focus. And behind bluntly declarative lyrical blasts (I’m Not a Loser, I’m Not a Punk), the choreographed interplay between guitarist Frank Navetta and bassist Tony Lombardo established a new template for punk music.
“They were different in that the guitar held a role much more similar to what a bass player does in so many rock bands,” says Stephen Egerton, who took over as guitarist for the Descendents in 1987 and remains in the band today. “The bass carries a large part of the melody.”
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That much is evident from the album’s opening salvo, Myage, a jittery punk anthem built around Lombardo’s relentless eighth-note runs.
He very deliberately avoided anything that would have been outside of just straight chords, all downstrokes, which I love
Both Lombardo and Navetta play all downstrokes – a signature approach they deployed to give every song urgency – while Navetta somehow manages to bring all six strings into play, a quirk that set his playing, and thus the Descendents, apart from their power-chording peers.
“Frank was like, ‘I’m going to play every single thing that I do as a downstroke with all six strings,’ and there was no middle ground,” Egerton says. “It was like, ‘I’m going to do this weird thing and commit 100 percent to it.’ He was just an extreme person.”
Navetta’s contributions to punk rock didn’t end with how he played his Yamaha SG1000 – he also penned some of the band’s most iconic songs. I’m Not a Loser and Parents, both Navetta compositions, contain similar chord progressions rooted in I-IV-V, which later pop-punk bands like Blink-182 and Green Day have used to great effect.
He also composed on an acoustic guitar, affording use of “a broad range of open chords,” Egerton says, while the band worked the songs up from mid tempos to their much faster final versions over time.
“He very deliberately avoided anything that would have been outside of just straight chords, all downstrokes, which I love,” Egerton says. “I try to honor his approach and play it as best as I can.”
Navetta’s ideas and inspiration are at the core of the Descendents’ identity, but frontman Milo Aukerman wrote their debut album’s most enduring and covered song, Hope.
For many fans, Hope was the gateway to discovering the Descendents and the roots of pop punk – Sublime included their version on 1992’s 40 oz. to Freedom, while blink-182 has covered the song live regularly.
Fans who turned out to see blink-182’s 2025 tour with Alkaline Trio, fronted by singer and guitarist Matt Skiba, who filled Tom DeLonge’s spot in Blink-182 from 2015 to 2022, not only heard their version of Hope, but also got to see Egerton play the song with them on a handful of dates. The entire Milo album is so important to the band’s sound that DeLonge has stated blink-182 wouldn’t exist without it.
That sentiment tracks for more mainstream pop artists who draw on the stylings of pop-punk as well. “I think, with blink, the influence of that album is still prevalent,” Skiba says, “and even for some of the more pop stuff, like Machine Gun Kelly or Avril Lavigne.
“I couldn’t name any of their songs, but they’re singing about relationships and breakups on these tough-sounding tunes about heartfelt things. The Descendants were the seminal band to do that.”
Navetta, who left the Descendents in 1983 and died in 2008, reunited with his former bandmates on a handful of occasions, contributing the song Doghouse to the band’s 1996 comeback album, Everything Sucks. In 2002, Navetta and Lombardo regrouped with drummer Bill Stevenson to record songs they wrote between 1977 and 1980. The resulting 18-song album, 9th & Walnut, finally saw release in 2021.
As the crown jewel in the Descendents’ discography, Milo Goes to College was reissued in 2025 alongside the band’s 1985 LP, I Don’t Want to Grow Up. The album’s status as a punk classic keeps more than half of its tracklist in Descendents’ live shows to this day.
“Milo Goes to College was one of my first loves,” Skiba says. “You will not meet a punk rock songwriter who doesn’t love the Descendants. They’re responsible for what’s so popular today.”
- This article first appeared in Guitar World. Subscribe and save.
