DVD Review: Salad Days: A Decade of Punk in Washington, DC (1980-90)

Text © Robert Barry Francos / FFanzeen, 2015
Images from the Internet

Salad Days: A Decade of Punk in Washington, DC (1980-90)

Written and directed by Scott Crawford
New Rose Films / MVD Visual
102 minutes, 2014 / 2015
www.SaladDaysDC.com
www.faceboom.com/SaladDaysDC
www.mvdvisual.com

There were so many important Third Wave scenes when the hardcore explosion grew into fruition, including New York, Los Angeles, San Francisco, Boston, Phoenix, and so on. There is no doubt, however, that the standing of the Washington, DC base is among the strongest. Two names tend to rise to the top, Henry Rollins, and especially Ian MacKaye, both of whom are represented here.

Of course, the opening shot is of Ian MacKaye talking. Without meaning this as any form of sarcasm or complaint, is there anyone in the punk scene who is represented on indie documentaries about the genre as much as Ian? After all, he was the one who started the whole Straight-Edge movement (though he did not invent the symbol of the X on the hand) that became somewhat of a preachy religion to some. And the fact that he’s this present so many decades later just proves how much he has injected into the movement.

The second person to talk is Henry Rollins. Henry, one might say, left his band SOA and joined one that was arguably bigger than Fugazi ever became, namely Black Flag. Flag had an influence on the world, but MacKaye was definitely – and rightly so – king of his kingdom, the land known as DC. Whereas Black Flag spread a sound, MacKaye spread a philosophy.

The growth of DC hardcore was nothing less than ferocious, with Little Ronnie Reagan right there, in a town mixed with rich government overlords and extreme poverty. This split personality was a societal PTSD with a beltway around it. Generally speaking, you could get depressed or you could get angry. Punk in that town went down the road towards the latter, with Doc Martins and spiked hair.

It’s no secret that the home base for Third Wave in DC is the 9:30 Club. Every town had it, be it CBGB, the Rat, or the Mabuhay Garden. In DC, it was the womb that launched a hundred bands that would have a ripple effect on every other club in every other town, even the older, more established ones.

The film is broken up into segments, each of which covers a topic or two. This is extremely well handled, as are the interviews. Yes, talking heads, but even when it’s the same person discussing her or her view, sometimes you can tell it was done over time as you can see them in different settings. Mixing in with this is some of the best hardcore photos I’ve seen, mostly in crisp black and white, and music clips that ranged from clear to pre-camcorder fuzzy, of bands and fans in action.

Let’s talk about some of the guest interviewees. There are the likes of Thurston Moore (known for Sonic Youth, but before then he was in the Coachmen, and I do believe that FFanzeen was the first ‘zine ever to publish anything about Moore; but I brag and digress…), Fred Armisen (the actor/comedian from Chicago was also in the band Trenchmouth), J. Mascis of Dinosaur Jr. , Tim Kerr (Big Boys, from Austin), and arguably the almost as omnipresent Dave Grohl, who was in the early DC scene and in the local band Scream. For once his stories didn’t sound like Whocares to me. And what, no Keith Morris, who is also usually on these types of documentaries?

Punk scenes that last long enough seem to follow a similar trajectory. A group of people start playing at a bar or a new space and an insular crowd with camaraderie forms. Everyone knows each other, bands respect each other (even with some rivalry), and everyone gets picked on by the local jocks and cops. Time passes and the scene starts to get popular, and the very jocks that were doing the jumping are now doing the moshing, and being violent inside the club. People get fed up and stop coming. The scene disintegrates. On some level, that fits DC as well, even though it splintered in the early 1990s, rather than disappeared.

The scene starts with the likes of the surf-inspired Insect Surfers (saw them play Hurrahs), the pop-rock Tru Fax and the Insaniacs (both these bands not mentioned in the DVD) and the garage-laced Slickee Boys (I saw them play twice at CBGBs and was a fan), and becomes the balls out Bad Brains. The BB left early on in 1980 to move to NYC, but they were adults by then. So the kids start forming their own bands, like Gray Matter (their drummer, Dante Ferrando, was amazing), Iron Cross and especially Teen Idles, began to rise.

The latter, with Ian MacKaye, didn’t last long, but they were the first to release a DIY single in the area. After they broke up, MacKaye formed the more iconic Minor Youth. It was here he started the record company that would define the scene, Dischord Records. Soon touring bands from DC would find gigs on just the strength of having a Dischord release.

This is the first section of the film. Another part discusses the violence coming from outside the close-knit group, from Georgetown College boys in Mustangs who would gang up on punkers. Henry Rollins tells a great story of how a group of punks used Alec MacKaye (Ian’s younger brother) for bait to catch the guys who were doing the beating to return the favor. They needed to take actions into their own hands due to a police force ambivalent to their needs. This would be mirrored in a later section on how moshing turned into performed behavior independent of music (I’ve seen this too, where the music playing was not as important as the stage diving; it could have been Andy Williams and gotten the same action), which turned into violence as the pit became the eye of the storm of the elbows and knees of skinheads and “Drunk Punks.” This led to gay bashing. Some started DIY self-promoted shows to limit this vehemence. MacKaye, again wisely, says he realized that the music they were playing and its subject matter are partially to blame because, as he put it, “Violence begets violence.” This led to his forming the less ferocious yet equally energetic (and nationally popular) Fugazi.

You really can’t discuss the DC scene without detailing the whole Straight Edge movement started by Ian, with the black “X” on the hands. While this is a quasi-zealous group, it did have at least two important results: it lead to the All Ages shows, which opened up a whole new, younger fan market, and (b) created a backlash that sometimes broke the scene into two defiant schisms, and bands would fall on either side; e.g., Black Market Baby came out as anti-SE, calling their counter-movement Bent Edge. The legacy of that lives on: when I wrote a blog on how I imbibe just a tiny bit and called the piece “OnBeing Straight Edge, Kinda Sorta,” l had some interesting responses blasting me for not being all in; this was in 2008.

While even the director of this film, Scott Crawford, becomes part of the story as he discusses his own introduction to the scene at age 12, and also fanzines, including his own Metrozine. There is a short, interesting segment on Go-Go, a black music scene that was incorporated into the punk catalog, much as earlier British punk celebrated reggae. As MacKaye succinctly puts it, you would find punks at Go-Go shows, but no Go-Go fans at punk shows.

The more interesting and intersecting segments to me dealt with social issues, including Misogyny (the “boys club,” dismissed by one dude as “we were young”) toward the female musicians who explain what it was like. Also there was the political and social upheaval as DC became the “murder capital of the U.S.” and the mayor, Marion Berry [d. 2014] was caught on camera smoking crack (sound familiar, Toronto? DC beat you to it!). One of the results of this, in 1985, was the formation of Mark Anderson’s Positive Force organization, that booked shows and held fundraisers for various causes (poverty, end animal cruelty, etc.). They were (and are, after three decades) a bit preachy, but a definite positive influence in the region. There is a documentary about / by them called Positive Force: More Than a Witness – 30 Years of Punk Politics in Action.

The extras include 14 “Extended Interviews” (aka deleted scenes), and 10 full live song performances (each averaging around two minutes) from the likes of Fugazi, Government Issue, Gray Matter, and Marginal Man (acknowledged as the first Emocore band, coined by Brian Baker of Dag Nasty), and others.

Representing the scene is more than thirty people interviewed, including musicians, photographers, fans (titled “Scenesters,” I term I often use), fanzine editors, and organizers. It’s an excellent oral history of the period. Mix in all the stills and films, plus some interesting graphics, it’s well-edited together and gives a well-rounded view of what was going on during the 1980s in the Capitol’s punk capitol.

 

DVD Documentary Review: Positive Force: More than a Witness

Text © Robert Barry Francos / FFanzeen, 2015
Images from the Internet

Positive Force: More Than a Witness – 30 Years of Punk Politics in Action

Directed by Robin Bell
We Are Family DC
69 minutes, 2014
www.morethanawitness.com
www.positiveforcedc.org
www.wearefamilydc.org      
www.mvdvisual.com

As with any other kind of music, there are not only different styles of punk, but reasons for existence. Everyone knows the populist cars, girls, surfin’, beer attitude that was especially prevalent in the First Wave, the anarchy in the [fill in the blank] anti-politics of Second Wave and the anything goes of the Third Wave [quick nod here to Jersey fanzine publisher Paul Decolator, RIP, 2002] hardcore scene.

However, in each one of these, there was also an undercurrent of political activism that did not get as much mass media attention, as the mainstream focused on the anti- rather than the pro-. Remember Joy Ryder (d. 2015)/Avis Davis Band in the 1980 film No Nukes? Probably not, as the film focused more on the big money makers like Springsteen and Carly Simon/James Taylor.

There were other bands from around the world whose focus was political, such as Crass, D.O.A., the Dead Kennedys (to some extent), and just about anything associated with Ian MacKaye.  Though the one person who is the thread that runs through everything is Mark Anderson, who helped found the organization, and is still it’s voice and face after all these years.

Positive Force is a Washington DC-based punk activist collective (there’s a word to make the Republicans shiver under the covers) initiated in 1985 as a reaction to Ronnie Reagan’s (and others’) destructive pattern of 1% government that would continue until this day as the Re-PIG-licans (a term used by Long Island, NY activist and punk rocker Jimi LaLumia) take over both of the US’s Houses after years of obstructionism and blaming.   But I digress…

Early on, this documentary shows its hand by quoting Karl Marx. No, no, no, I’m not saying I’m pro- or anti-Communism, as I believe that most forms of government have positive and negative aspects depending on the actions of the leaders and/or number of constituents involved. For Positive Force, being a relatively small organization with big ambitions and ideals, communal-think is beneficial for them. Along with other DC organizations and bands, they produced a large amount of material that questioned the government, took action against poverty and animal cruelty, and made awareness of world issues more prevalent.

As for this documentary, there are a lot of big names giving talking heads testimony, including among many, MacKaye (Minor Threat / Fugazi), Henry Rollins (Dead Kennedys), Kathleen Hanna (Bikini Kill), the ubiquitous Dave Grohl (Scream / Nirvana / Foo Fighters), Jenny Toomey (Simple Machines), and members of other bands including 7 Seconds. Lots of topics are covered, such as (listed on the DVD cover): “homelessness, hunger, racism, corporate globalization, sexism, homophobia, war, gentrification, ageing, and animal / earth liberation.”  The problem with this kind of thing is that left-leaning (which includes me) activists tend to be, well, kinda boring. 

The reason for this is the same / flip problem with Middle American conservatism: seeing issues through “isms” and code words (my friend and punker Tony SQNS would call this PC), or slogans. “1-2-3-4 / “We don’t want [pick a topic] any more” is all well and good – and necessary – but it becomes underwhelming in its simplicity. The earnestness of those involved here makes their causes almost a religion. For example, those of us old enough remember when Ian MacKaye’s Strait-Edge became a synergic thing unto itself that had followers demeaning those who have the odd and rare drinks (like me) as if they were raging alcoholics (e.g., I once wrote a blog about this called “On Being Straight-Edge, Kinda Sorta,” and the response I received was as follows [errors included]: these is only one level to straight edge. you are or you arnt. no gray area. I think its cool that you arnt a junky, but you arnt straight edge. These is no closes with straight edge. If you are close to being completely sober, why not take it to the next step and commit?). The point is the zealousness of activism can both raise awareness and bully it closed.

I admire people who can find a focus that is important enough to them to give themselves to it. There is someone close to FFanzeen who works with the charity God’s Love We Deliver,  and promotes the foundation, but doesn’t beat anyone’s head over it. Hell, I’ve marched in a number of protests for Murdered and Missing Indigenous Women, to rally against the raising of tuition at CUNY schools, and even participated in one of the Yusef Hawkins marches in my Bensonhurst neighborhood. Point is, there is commitment and there is commitment. Believing in a cause can be constructive, but if it reaches a certain level of shrill, well, it’s no better than the NRA. Left wing nutjobs are as annoying as right wing nutjobs. I offer PETA as an example.

That being posited, I think this documentary is important, because it needs to be said that not all punk is nihilistic, and that there is a strong level of many wanting to improve, as well. The question I have is what is the percentage of people represented here who came to punk through political activism, and how many found activism through punk rock (both of which are suggested by the end)? That would make an interesting documentary in itself. Kathleen Hana does broach the subject when discussing the origins of the Riot Grrrl movement (e.g., Bikini Kill, Babes in Toyland, and perhaps Hole), which I consider much more interesting than the male-based alternative bands in Seattle at the time (Soundgarden, Nirvana, etc.).

About halfway through the documentary, the tone of focus changes from the formation of the political / activism movement to a more music / activism direction, which is additionally interesting. Starting with the Riot Grrrl, as I mentioned, what is discussed is the corporatization of punk starting with the Seattle scene (Fourth Wave, if you want to label Alternative as Punk). Positive Force co-founder Mark Andersen correctly discusses how before Nirvana, Rolling Stone magazine had no interest in punk, and Henry Rollins posits that punk music was good and eventually the corporate music entities would become more involved as the interest (money) started to flow.

There is a lot of good clips of music by many interesting bands, such as Bikini Kill (doing a rare live version of “Girl Soldier”), 7 Seconds, Fugazi, and others. A longer version of these performances totaling 34 minutes is included along with three (30-minutes each, on average) short doucmentaries included as extras, films between 1991 and 2014. The first is “Wake Up! A Profile of Positive Force,” another one-sided stroke-fest. “Green Hair, Grey Hair” is a bit more interesting as we follow the We Are Family organization, founded with a donation by Good Charlotte (also from DC), which focuses on destitute elderly African-Americans displaced by gentrification, and how Positive Force punkers help deliver food and company to them (similar to the aforementioned God’s Love We Deliver, FYI).

The last film is called “Punks Votes, Riots,” which deals with the Punk Vote movement that was started by Fat Mike of NoFX to get rid of George Bush in favor of whomever was running against him, and the riots that followed the benefits. This is the best of the three, and explains how the movement caused a rift within Postiive Force. My only issue with this one is the maaaaany jump cuts, and the lack of identification of the speakers, some obvious like Jello Biafra and Ian MacKay, others not so much for those outside of DC. Of course, the live music is the best part, hands down.

Of course, I realize that this documentary was produced by the very group that is being discussed, so there is not going to be critical thinking about its mission as much as self-back slapping, as it is a self-promotion tool. His makes it sound preachy, and a lot like those late night Christian Feed the Children infomercials. That to me is the core of the problem here, and what makes it less interesting, even though the topic being discussed is incredibly important. And yet, if you are interested in activism, this is a worthy manifesto to check out.

Bonus video from DVD:

 

DVD Review: “I Need That Record!”

Text and live photos © Robert Barry Francos/FFanzeen
Film images from the Internet

I Need That Record!: The Death (or Possibly Survival) of the Independent Record Store
Directed, produced and written by Brendan Toller
See of Sound, 2009
77 minutes, USD $14.95
Ineedthatrecord.com
Seeofsound.com
MVDvisual.com

We all know of an indie record store that has closed, such as Jennifer Flynn’s Home of the Hits in Buffalo, NY (nee Play It Again Sam’s) and Friday Night Dave Olka’s Record Mine, in Kenmore, NY. They were places to meet with friends, get a few lessons (be it historical or what was new on the shelves) from fellow collectors and/or lovers of music, or just to spend some time browsing and checking the racks on one’s own. The local stores are suffering and shuttering throughout the land, and this process is the focus of the documentary I Need That Record!, including places in Connecticut, Nashville, Minnesota, Dayton, and Chicago.

Let’s start with form. Using lots of interviews with store owners and workers, musicians, and various fans (mostly male, apparently), director Brendan Toller does quite well in taking the focus off of himself (unlike, say, Michael Moore) and places it squarely on the topic at hand (you only hear his voice as narrator and interviewer). He uses stock footage and animation that tends to be manipulated and animated in quite amusing fashions, as well as original art by Matt Newman; he uses these to presents a ton of facts and numbers, without any of it being preachy or distracting, and more importantly it is never boring. Also flowing throughout is a solid soundtrack, including the DVD title by The Tweeds, a few by the Black Keys (including in-store live footage), and the Kinks’ appropriate “I’m Not Like Everybody Else,” the latter clearly geared toward the mentality of the collector.

I took notes during the entire DVD and ended up with a few pages, which I won’t repeat here much, but just know that it’s mind-blowing to see just how manipulated the whole independent record store genre is by the major companies and big box corporations. As a collector states here, the big box stored fought to close the indie stores, and then were shuttered themselves by changes in technology. But I’m getting ahead of myself.

The storyline is broken up into various sections. The first shows that with the indie stores closing, what is left are mall stores such as Wal-mart, who carry only top 50 releases. W-m sells 1 out of every 5 CDs sold (they also have a clutch hold on magazines, but I’m digressing again). This process was started by major label’s putting “bean counters,” as Legs McNeil says herein, in charge of the companies, answering to the stockholder’s need for profit, rather than a central company head, or even Board, who will nurture talent. Artist and Development was the first to go, and the performer now is expected to have a hit right off, rather than a steady climb to the top. That’s what happened at Sire, with bands like the Dead Boys and DMZ, or at Warner Bros. with Willie Alexander, even back in the ‘70s. Not selling fast enough? Good-bye. Enter homogenization.

The second section of the documentary deals with the corporate end, including what the record companies are willing to do to promote (or not); for example, Good Charlotte (an overrated band in the so-called mainstream punk vein, like Blink 182 or Green Day…yes, I’m going there) got 250 spins at a station for a payout of $17,000 by Sony. Clinton did a “Reagan” by passing the Telecommunications Act in 1996 (sometimes good guys do bad things), thereby removing the restrictions on the number of outlets owned by a single company. Before the Act, less than 65 radio stations were owned by major corporations, and today, Clear Channel alone owns 99.9% of the top 250 markets. That’s why you will hear crap like Limbaugh, but Air America went under. Lady Caca – I mean Gaga – produces “music” that is banal and thumping, and yet is played on every station, or even Good Charlotte types, rather music with any kind of balls like, say, DOA or Anti-Flag (never mind Monty Love or McRackins). No, Clear Channel stations play the same songs 73% of the time*. I’ve never listened to Justin Bieber (Beiber?) or Lady Caca, and yet I know their music just from walking though malls, emanating from storefronts, passing cars, newscasts, etc. It’s a drowning glut.

The next section contends with the blow to independent music dealt by the launch of MTV in the 1980s. Mike Watt, once of the Minutemen, comments widely on this topic in this film. While he sounds a bit disorientated in his manner, what he is saying is quite smart and is worth paying attention. The selectivity of MTV had a strong effect on what was released; if it couldn’t be played on MTV, it wasn’t supported, i.e., if the band didn’t make a video or it was not accepted on the station, it was not promoted.

Wal-mart leads off the next part. They undermine the indie stores by undercutting them. Music and videos are viewed as loss leader by the chain, to get people into the stores, so if they lose money on the music, they more than make up for it by selling the music player. As Rob Miller, of the indie Bloodshot Records label says here quite well, they are more interested in moving product than defining culture. In some markets, indie stores buy their CDs from big box stores to sell in their own shops, because they can get a better deal from them than with the actual major record companies.

Marketing is another section, describing (in part), how CD prices have been rising, making sheer profit for the labels (it is incredibly less expensive to make CDs over vinyl, but the cost to purchase is so much more). Also explained here is how the computer and MP3s are having a major impact on the larger labels, who sued companies like mp3.com and Napster into freebie non-existence. Despite that, most historic music is ignored by the bigger labels, as 80% of the market sales are through CDs, and yet more than 50% of recorded music is never put on CD.

Here, the opinion of those interviewed varies. For example, Glenn Branca states he likes the value and selection online and buys most of his music that way, but Thurston Moore, of Sonic Youth, calls online buying lonely and boring in comparison to record stores. Lenny Kaye eloquently states that he likes the ease of downloading, but misses the “moment in time” connection of what he is buying. Leg McNeil, in his own “I gotta be different and difficult” manner, states he buys online because he is not interested in “community.”

It is here the “possible survival” part comes in, with major labels not being able to cope (yet) with indie releases being so viral, so presently the only place to get them is on-line or at an indie store. With modern technology, anyone can record themselves and sell it. For example, Anthony Kapfer of Brooklyn has been promoting releases by his own bands, such as Kung Fu Grip, quite well without the help of a label; you’re likely to find his CDs online or at indie stores, because big box chains are not going to deal with his sales level, but that won’t stop him or like-minded musicians like him.

Between these DIY artists and a resurgence in vinyl, which will not be found in big box stores, there will be a need for the chance of an indie store revival. Meanwhile, I have found many of the “community” of collectors meeting haphazardly over boxes of vinyl or CDs at garage sales and flea markets (implied in this film). Collectors will find a way, and hopefully, so will the indie stores. As more and more chains fold, such as Tower and Virgin, this may open a vacuum of need for a way to find those hard to locate bands.

I have only touched a tip of what is expressed in I Need That Record!, a well made release that should serve as a wake-up call to the way music is distributed, and the tributaries surrounding that output.

The extras are quite interesting, consisting of over two hours of longer interview pieces by people who comment throughout the film, such as DIY do-or-die Ian MacKaye (whose comments about listening to the radio are priceless), Mike Watt, Thurston Moore (who comes across as a sweet guy who you would be likely to meet at a record shop talking over tunes), an annoyingly abrasive Leg McNeil, Lenny Kaye (who I feel said the most heartfelt comments), and an appropriately abrasive chain-smoking Glenn Branca (who helped start the No Wave movement in the late ‘70s).

Fortunately, there are still many great indie stores out there hanging on, such as House of Guitars in Irondiquoit, NY, Rockit Scientist and Bleecker Bob’s in Greenwich Village, Turn it Up! In Northampton, MA, and Vinyl Diner, Vinyl Exchange, and Tramps in Saskatoon.

For me, this documentary made me think of some die-hard record collectors I’ve known in my life, such as (in no particular order) Bernie Kugel, Mad Louie the Vinyl Junkie, Friday Night Dave, the Doctor of Madness, Joe Viglione, Mike McDowell, Kenne Highland, Tom Bingham, Jeff Tamarkin, Greg Prevost, Cary Baker, Gary Pig Gold, Bruce Farley Mowat, Joe Bonomo, Richie Unterberger, Miriam Linna and Billy Miller, and so many others. We’re out there, and we will find each other one way or another.

* In the early ‘80s, I got into an argument with talk show host / record company exec Jonathan “Everyone’s Gone to the Moon” King about what he considered successful radio, which consisted of just this very commonality and replaying of records over and over. I’m sorry to say it looks like the was ahead of his time, and he won.

Book Review: PUNK LOVE by Susie J. Horgan

Text (c) Robert Barry Francos
Photos from Internet

"I cannot understate this: for many of us, those times, over twenty-five years ago, define who we are now."
- Henry Rollins, from the forward of Punk Love Punk Love, by Susie J. Horgan, with text by Henry Rollins, Ian MacKaye and Alec MacKaye (Universe Publishing/Rizzoliusa.com, 2007)

It is stating the obvious that the DC scene was an important impetus to the national hardcore movement in the early 1980s, so we don't need to go there; let's move on.

Two of the prominent movers to arise (among others) out of the area were Ian MacKaye and Henry Rollins. And yet, this book actually has its birth not in the clubs, but in a Haagen Dasz (screw the umlauts) ice cream shop. It was managed by Rollins and employed MacKaye, who was joined in 1980 by Georgetown student Horgan. They all became fast friends, and with the addition of Horgan's brand new 35mm, they bonded over black and white film.

As she was the only one with a camera that he knew, MacKaye asked her to take the cover shot for the picture sleeve of what would become both an iconic image and sound. It was for MacKaye's Teen Idles "Minor Disturbances" release that turned many tides (yes, I still have my copy).

Most of the shots in the book are of the mere six months that Horgan resided in the DC area, before moving on, but it was enough to capture some amazing shots of motion. Here are some thoughts of the book, and of my own personal refection...

The first part of the (mostly) photo-centric book is of Rollins & MacKaye fooling around in the ice cream store. Yeah, they are important to show the human side of the two of them, but honestly, well, I didn't care. Sure, on some historical level it is important to record this, but...well, whatever.

Horgan learned photography essentially the same way I did about three years earlier, by taking pictures of bands; for me the Ramones. Some shots of hers are amazing, and others are blurry messes, but in a good way - they show motion and passion, rather than being merely out of focus. Rollins states it correctly in the forward for both them and myself, when he says, "I see now that I was nothing but lucky. Right place, right time." I am always grateful for that.

I started taking photos as a memory trigger to remember bands I saw, as I was seeing so many; I almost always took pictures of all of the bands, not just the ones I liked. Over the years, I have noticed people taking pictures of their friends and their friends' bands, and ignoring anyone else. On some level this is true of Horgan, or it is at least in this book. Most shots are of either SOA (Rollins' group) or Minor Threat (MacKaye's). She slips in some of the other bands here an there, such as members of Government Issue, Red C, and Youth Brigade, but most are back- or frontstage, rather than performing, which I think is a loss. Happily there are some great shots of Harley Flanagan, of the Stimulators, pounding some drums. One thing that Horgan did that I certainly did not and that I regret, is take pictures of the audience. In the mid-'70s, the New York scenesters (including myself), basically either sat at tables or bounced our heads to the music, but almost never danced (we were too cool, which annoyed many a visiting group), so there wasn't much to shoot. It wasn't until the advent of hardcore that the audience really began to become more of a focal point, which Horgan does an excellent job of capturing. What is amusing is that in some shots, it just so captures that moment in time, especially the shot of the kids sitting on the steps of the Wilson Center (check the hair on the guys in front); but in other shots, especially the of the pit, it could be taken from any point in time since...though it is noteworthy that there is not one trademark or branded piece of clothing among the bunch, something that has sadly been lost.

The reason Horgan took that famous photo of the Minor Disturbances cover is because she was the only one he knew that had a camera. He automatically assumed she was a pro. Back then, if one had a camera, it was only film, and it was mostly either a professional thing or, in my case, a devoted amateur. Now, everyone has a camera and takes thousands of shots and culls the "good ones." Back then, one needed to get some skill and get it fast, because film was expensive, and developing even more so. Now, there are 50,000 photos of any band at any time; back then, it was hard to find the photos of beginning bands. Shit, I've got thousands of them. Again, right place-right time. Grateful.

In summary, though the focus of the book - pun intended - is pretty narrow on a select group of musicians in a very short period of time, but it is an important series that deserves the light of day (hey, there aren't too many pix of Rollins sans ink), and for that, I recommended this book, both for the images, and Rollins's and MacKaye's input. The most important element is that Horgan has heart because she has devotion to her subjects. And it shows in her work.