photo & text by nacrowe
i remember getting REPEATER (DISCHORD, 1990) by FUGAZI at the recommendation of a childhood when i was visiting ORANGE COUNTY during the summer before my senior year of high school back in 2001. i believe i bought it at RADIATION RECORDS in FULLERTON. regardless, to my ears this record was a revelation because of its aggression, experimentation and sense of melody. since i was uninitiated into the world of POST-HARDCORE, at the time the nearest analogue i could think of was NIRVANA's IN UTERO (DGC, 1993). this record felt like a progression from that.
it wasnt until a few years later that i became acquainted with other bands like RITES OF SPRING, GLASSJAW, THE REFUSED and other seminal POST-HARDCORE bands that REPEATER gained a more apt context.
i can only count a handful of times where my world changed when hearing something unique for the first time. that happened in NIGERIA when someone who worked for my parents played FELA KUTI nonstop, specifically the ITT (WRASSE, 1980) and CONFUSION BREAK BONES (WRASSE, 1989) cassette tapes. it happened when i first heard both NOTHING'S SHOCKING (WARNER BROS, 1988) and RITUAL DE LO HABITUAL (WARNER BROS, 1990) by JANE'S ADDICTION on the same trip in SOUTH AFRICA. it also happened when i discovered DEVO in high school or THE SMITHS and THE STRANGLERS from track meet trips with my dad during my elementary school years.
i always wonder how much of your media diet is a reflection of your openness to new sounds, images and ideas during specific moments in your life. and who you surround yourself with. growing up moving all the time ive been around a lot of people with varying tastes and outlooks and i feel sometimes my exposure reflects such. in the case of FUGAZI, i was years late to that party. but i still find myself listening to this record especially standout tracks like "MERCHANDISE," "BLUEPRINT," "GREED," and of course "REPEATER" that all have a raw earnestness around them that is reflected in the lyrics and pummeling yet nuanced dynamism of the guitar assault.
now i hear their sound in other bands all the time, so it has dated a bit since i firts heard it, which of course was more than a decade after its release. great record i highly recommend checking out for fans of PUNK ROCK and HARDCORE.
photo manipulation by nacrowe
dedicated to his close friend since childhood, kindred spirit and deceased former bandmate D. BOON, WE JAM ECONO: THE STORY OF THE MINUTEMEN (ROCKET FUEL FILMS, 2005) is an intimate documentary largely narrated by MIKE WATT about his former band, the highly idiosyncratic and influential 1980s HARDCORE band THE MINUTEMEN.
hailing from SAN PEDRO just as the SOUTH BAY was taking over the LOS ANGELES music scene with a more volatile and aggressive wave of PUNK ROCK that included the likes of BLACK FLAG, CIRCLE JERKS and THE DESCENDENTS, THE MINUTEMEN represented the conceptual and artistic vanguard of the scene. their lyrics were opaque and their sound kinetic yet off-kilter, skittish and dare i say it, funky. in a scene where subtlety was not the norm, both sonically and in terms of lyrical content, THE MINUTEMEN effectively expanded the out realms of the genre in the same way HUSKER DU had done in their respective scene at the time.
the core of the band existed before HARDCORE emerged, but in that scene they saw a freedom and artistic opportunity. D. BOON was an accomplished visual artist and had a way with lyrics where he could evoke images with a minimum amount of words. this efficiency likewise found its way to his guitar playing, which borrowed from various genres and transcended the extreme buzzsaw tempos of his label-mate and fellow scene participants, BLACK FLAG. in essence they had a chemistry that came from years of camaraderie and basically exemplified the DIY ethos of PUNK ROCK. they were completely self-made and unique.
can't say the same for the construction of the documentary itself. it drags a bit and has a very uneven pacing throughout. it could use another edit, which is unfortunate as the band definitely deserves better. but where it lacks in professional sheen it makes up for in content. its rough appearance may even make the film a better conduit for information as it provides a sense of intimacy, especially with regards to its interview footage.
this film includes archival live performances and then-recent interviews with the likes of peers such as IAN MCKAYE (MINOR THREAT), JELLO BIAFRA (DEAD KENNEDYS), MILO AUKERMAN (THE DESCENDENTS), KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), J MASCIS (DINOSAUR JR), MIKE MILLS (R.E.M.), DEZ CADENA, CHUCK DUKOWSKI & HENRY ROLLINS (BLACK FLAG), KURT KIRKWOOD (MEAT PUPPETS), JOHN DOE (X), FLEA (RED HOT CHILI PEPPERS / FEAR), THURSTON MOORE & LEE RANALDO (SONIC YOUTH), ROBERT HOLZMAN (SACCHARINE TRUST), RICHARD HELL (TELEVISION / THE VOIDOIDS) and COLIN NEWMAN (WIRE) among many others.
worth checking out only if you are a deep fan of the genre or the artist, but may be less interesting for those not familiar or eager to explore either. there are other documentaries that are arguably a better introduction to the scene in general like AMERICAN HARDCORE (AHC PRODUCTIONS, 2006) or PUNK: ATTITUDE (3DD PRODUCTIONS, 2005).
photo manipulation by nacrowe
as its pragmatic title entails, SALAD DAYS (NEW ROSE FILMS, 2014) is a comprehensive look back at the evolution and enduring cultural legacy of the WASHINGTON D.C. HARDCORE scene of the 1980s. utilizing interviews from both from members of countless participating bands as well as (interesting choice) scenesters of the period, you really get the sense about how an idea sparks a scene which sparks a movement and the implications of such. what blows my mind is that everything discussed was accomplished for the most part by a bunch of kids in their teens and early 20s. makes me wonder what ive accomplished.
at the essence of this whole scene is a strong DIY ethic. in the aftermath of the PUNK explosion of the late 1970s, there was a small group of like-minded teenagers in D.C. who listened to THE CRAMPS, IGGY POP and THE RAMONES and fought off redneck suburban kids attempting to beat them to a pulp for dressing different. this confrontational day-to-day existence manifested itself in a small scene of kids who picked up instruments and started bands. these bands developed to the point that a local record shop, in a very HIGH FIDELITY (TOUCHSTONE PICTURES, 2000) moment, helped them learn to record at a nearby studio with a producer and manufacture vinyl records. enter DISCHORD RECORDS.
at the hear to the scene is DISCHORD, which was essentially an excuse for IAN MCKAYE and JEFF NELSON to self-release and EP by their band THE TEEN IDLES. eventually the also released records by their friends and D.C. bands they thought people should hear. DISCHORD through MCKAYE's next band MINOR THREAT become well known and helps draw attention to the label's roster, which some complain sucks the oxygen out of non-DISCHORD affiliated INDIE and PUNK groups from the area. some of those bands even start their own labels like TEEN BEAT RECORDS and SIMPLE MACHINES.
as the scene gets bigger in the mid-80s through the increasing notoriety of the DISCHORD roster of bands (GOVERNMENT ISSUE, VOID, FAITH, S.O.A., etc), things begin to change. kids show up from the suburbs and shows become decidedly more violent. original bands grapple with the fact that these newcomers do not share their values. things get increasingly desperate as racist SKINHEADS and destitute DRUNK PUNK show up and reek havoc. all this while, again, most of the bands involved are barely in their 20s.
the scene begins to change as bands mature and get more introspective lyrically and experimental sonically. a new generation "emotional hardcore" bands become prominent like EMBRACE and RITES OF SPRING and which result in effectively challenging their audiences expectations. things also get more splintered as some bands get political as exemplified by the local outreach group POSITIVE FORCE who put on numerous shows as well as musical protests of the SOUTH AFRICAN embassy for its then-APARTHEID government. this came to be known as REVOLUTION SUMMER.
for some this new explicitly political focus through benefit shows and protests was pedantic at best and HIPPIE-ish at worst. it splintered the bands much as the STRAIGHT EDGE movement had done years before. STRAIGHT EDGE was a MINOR THREAT song about not needing intoxicants to have a good time, in fact not doing so gave them the "straight edge." people took MCKAYE's personal affirmation as dogma, as followers tend to do, and it created confusion amongst the scene about how people could act at shows. was drinking now bad?
through all the variations and misinterpretations of this scene, it seems the biggest impact was their intense DIY ethic and sense of community. in the end the idea of creating a scene from nothing showcases how empowering an idea such as PUNK ROCK can be. the democratizing of instruments to all levels of musician's most have been exhilarating when PUNK ROCK first came about.
my only grief is that the empowerment of the still relative dearth of prominent modern PUNK or INDIE bands that express the perspectives of minorities and those of the LGBTQIA community. watching this documentary cognizant of what came in its wake, it still feels like PUNK ROCK is a white boys club pissing on one another. the industry has changed but the players have not, no matter how woke they.
hopefully this next generation will take the cue from PUNK ROCK and empower themselves to advocate structural change moving forward. they'll have to do it themselves.