Teen-Beat – Dischord. Arlington, VA

This is so cool.

Hometown Sounds

This video [Teen-Beat catalog #535] is a little unusual, so let us explain. Record labels are the glue that binds musical creativity together into a product that can stand the test of time. The DC area in general, and Arlington in particular, greatly benefited from two independent labels that did amazing work documenting and organizing their scenes. Teen-Beat is a record label founded by Mark Robinson of the band Unrest in 1984. It has since moved to Cambridge, Massachusetts, but in its DC heyday featured indie rock bands such as Tuscadero, Phil Krauth and Jonny Cohen’s Love Machine. This video was shot and scored by Robinson at Dischord House, the Arlington home of Ian MacKaye and Jeff Nelson’s label documenting the punk, post-hardcore and rock output of DC for decades. It’s a brief and intense glimpse into the creative space that’s shaped our city’s musical legacy, and it moves…

View original post 18 more words

Advertisements

‘The Last Scene’ Trailer & Campaign

I’m appearing in a new documentary called The Last Scene, which covers pop-punk’s millennial epoch and surprising transition. The director, Kyle Kilday, approached me with questions about scene dynamics and the social role of rock music, and I show up (briefly) in his sizzle reel, embedded here:

It’s always weird seeing myself on camera – particularly as a talking-head “expert” in a documentary. As someone whose love of bands like The Get Up Kids and Hot Rod Circuit helped him endure the end of high school, I can’t wait to see where the project goes. I’ve already been invited to (production pending) re-film an extended interview in LA this Fall.

Kilday has set up this IndieGoGo page for those interested in contributing!

Condition: Jawbreaker

41o2-subljl-_sx364_bo1204203200_I recently read Ronen Givony’s book on Jawbreaker’s 1994 album 24 Hour Revenge Therapy (Bloomsbury 33 1/3 series), which I highly recommend to anybody interested in the pre-internet circulation of underground music. While it’s so easy to wax poetic and nostalgic about 20th century pop culture, Givony illuminates the dark side of that era. The backlash that Jawbreaker faced for signing to a major label was downright savage. As many of their friends and colleagues have implied, it would likely not have mattered if it had happened five years earlier or later; the conditions in 1995 were just right for righteous indignation among their fans.  The Dismemberment Plan, who I’ve focused a lot of my music writing on, followed a similar early-to-the-party/first-to-leave timeline (though it took Jawbreaker 21 years to reunite, whereas the Plan reunited in earnest within 8).

Givony’s Jawbreaker story made my jaw drop exactly twice.

1979970_700682193307329_4809697842692758554_oFirst, I was genuinely amazed to discover that their bassist Chris Bauermeister went to high school in my hometown. He grew up in a German-speaking household in Connecticut and attended a prep school in Madison that closed down in 1991. I only have vague memories of the school; my mom recently told me she voted in the town’s referendum on whether to purchase the property (with the school building on it). I didn’t have any real overlap with Chris, who graduated and moved away to New York in 1985, the year before my family moved to town. Still, it’s a remarkable coincidence considering how (1) I always considered Jawbreaker to be a quintessential San Francisco band, and (2) I tended to assume nothing cool ever came out of my hometown. It’s taken half a lifetime away, a PhD dissertation, and some sprinkled-in hindsight to realize how wrong I was about that. Also, the youngest person to graduate from Hammonasset is in their mid-forties now.

Second, in the middle of a “get off my lawn” screed about the contemporary state of the music industry, Givony drops an incisive observation that I think bears block-quoting here (emphasis mine):

In the music and media industries today, it is a truth universally acknowledged that a band in possession of a good single must be in want of a fortune. In a time when almost no one still buys albums, and tens of thousands of streams will earn a band pennies, the reasoning goes, artists deserve to get paid any way they can manage, and rightly so. Who are we to blame them if the only people still paying musicians their true worth are corporate advertising and branding companies? It’s a difficult claim with which to argue, which is why almost no one ever still does.

As much as I balked at the assertion that “almost no one still buys albums” (pressing plants wouldn’t be backed up to hell if that were true), this bold statement hit me like a ton of bricks. The idea that musicians can only make a healthy living through licensing (title idea: Better Living through Licensing) has been analyzed comprehensively at this point. Todd in the Shadows broke it down beautifully in this video late last year. However, the specific angle that corporations were the only ones either capable of (or willing to) pay musicians their true worth has been banging around in my head for days. I am steadfast that Google and Spotify have both been instrumental in institutionally and purposefully devaluing music to create a paradox in which artists would be beholden to them. I’m aware that music piracy on the internet long pre-dates either of those companies, and label heads were freaking out over cassette tapes much more in 1987 than they were over MP3.com in 1997 (Thanks, Telecom Act!). Regardless, whether people want to pay for music is not the issue. That so many people feel entitled to not pay for music, or even own it, is noteworthy. Then again, this is nothing new, and people have still not slowed at creating art. Artists, as Marshall McLuhan wrote in 1964, always have the advantage since they are sitting at the point of creation:

In the history of human culture there is no example of a conscious adjustment of the various factors of personal and social life to new extensions except in the puny and peripheral efforts of artists. The artist picks up the message of cultural and technological challenge decades before its transforming impact occurs.

We can’t travel back to the point in time when 24 Hour Revenge Therapy was created, but fortunately the internet has enabled the next best thing: virtual flânerie! Here is some Super-8 footage that Adam Pfahler found of the trio driving around their adopted neighborhood in 1992. Just like Jawbreaker encapsulated the pre-internet era of underground America in their music, this video does well to provide a peek into pre-Google, pre-Facebook San Francisco, when the Mission was cheap and bursting with potential. Also, it gives “Boxcar” the long-overdue music video it deserves.

RIP Steve Soto

oStopping by to leave a note in remembrance of Steve Soto, the longtime bassist and songwriter for the Adolescents. I don’t remember ever having the pleasure of meeting him, but multiple accounts from friends in and out of the SoCal punk community are unanimous that he was one of the nicest and funniest people in the history of that scene, as well as throughout the American ’80s hardcore underground.

I never played in a hardcore band, but I can’t overstate the importance of the Adolescents (especially their canon 1981 self-titled record) to me when I was getting into hardcore. They also played a role in unlocking my curiosity about the contrasts between Orange County and LA, a schism I would later dig into as a novice geographer sitting on the border of the two in Long Beach. Outside of my buddy Carlos’ mom’s amazing restaurant in Santa Ana, downtown Fullerton (one of the band’s home bases) would become, and remain, my favorite thing about the OC. A growing, collective interest in OC punk would also lead my Berlin colleagues Lucas Elsner and Lauri Turpeinin to present research on Californian suburbia at the 2016 AAG Meeting, where we met and have been friends ever since.

I had the opportunity to see the Adolescents play in 2006, when they toured through the Black Cat in DC. At the time, the original members were all in their forties, but the teenage son of one of the Agnew brothers was playing guitar in Rikk’s place, so the band’s name hadn’t lapsed into irony. When I heard that Soto had passed this morning, I thought back to that show, and I remembered how clearly Steve was doting on the young kid between songs, patting him on the back, smiling and shouting words of encouragement. The underground scene was lucky to have people like him.

Rest in power, Steve.

 

Thanks for reading! If you don’t own Adolescents, correct that immediately. I’ll be back soon with more geo-updates; I appreciate your collective patience. The summer has been much busier than I’d anticipated.

NEW ARTICLE OUT. ‘Tout Faux’: Parisian landscape and hardcore punk, 1983–87

20441983Happy 2018! I’m excited to announce I’ve just published a new article in the UK journal Punk and Post-Punk. Read the abstract, order it, or find citation info here. It overviews the geographic history of Paris hardcore, focusing on the three or four years of the mid-1980s when the underground style first attempted circulation in the Ile-de-France region. I based this off of a range of accounts I gathered during my fieldwork in France in 2015 and through follow-up correspondence since then.

As far as I know, this story has never been told formally before,  and I’m grateful for this opportunity to give progenitors like Heimat-Los and Kromozom 4 their rightful place in the greater global post-punk timeline. Hopefully somebody who was there at the time can take the baton and publish a more authoritative and comprehensive history of that era someday. In the meantime, there is plenty of great material archived and linked via Euthanasie Records.

Thank you to Russ Bestley and all of his colleagues at this fantastic journal. You can look into the index of Punk & Post-Punk back issues and learn how to submit on the Intellect Ltd. page here.

RIP Fred/Freak Smith of Beefeater

fredplaysforloversSad news today. Fred Smith, guitarist of the charismatic DC Revolution Summer group Beefeater and multiple other bands, was found dead in a park in the San Fernando Valley. Thanks to Mark Andersen for sharing this via social media. I imagine other details will emerge soon as his many friends from over the decades come forward. The Los Angeles Daily News reported that he was homeless at the time of his death, but that may have been in error.

Smith had lived and played in bands in Los Angeles since the 1990s, from what I understand. He also showed up on the Tonight Show in 2010, doing his best to make this clip enjoyable against Jay Leno’s humor deficiency. Hopefully more details on Fred/Freak’s life will emerge in tributes soon. Here’s a video of Smith playing with Beefeater in 1985.

Will Straw’s “The Urban Night” and 2016’s Fight for the Right to the City

Will Straw – Cities of the Night, Cultures of the Night from Winnipeg Arts Council on Vimeo.

Sorry the video doesn’t allow embedding; I’ve done similarly with a few videos I’ve posted over the years, so I’m not complaining. Go ahead and watch it on Vimeo.

Over the course of my dissertation research, I’ve realized that the day/night binary in the city is largely overlooked in urban geography. Particularly in cities like DC, the population balloons during the day, though the census reflects overnight residents who may or may not take part in much of the city’s nightlife. The “day” population and the “night” population, especially as they increasingly overlap in the age of revanchist urbanism, engage in a tacit conflict over “whose city” it is. This becomes increasingly complicated when quintessentially “night” activity occurs during the daytime. As Straw mentions in this 2010 talk, cities like Winnipeg and others in their corner are embracing traditionally nighttime activities (raves, dance parties, punk shows) and reorienting them to happen during the day, thereby supporting the arts while lightening nighttime disruptions. Punk scenes like that of Washington, DC have been doing this with little to no involvement from the city government for decades.

300px-st_stephens_church_exterior_1932DCist recently posted a 2016 retrospective blog, which included a heated debate between punks and irate young professionals.  The blog PoPville, started by Dan Silverman (aka the “Prince of Petworth”), a legendary neighborhood blogger/flâneur and the veritable face of gentrification in DC, posted an anonymous letter from an irate resident of the Mt. Pleasant neighborhood who was more than slightly annoyed at the noisy music coming from St. Stephen’s. Unsurprisingly, Silverman’s responsible decision to post the email resulted in a firestorm of animated responses. The perpetual verbal tug-o-war between “new” residents and historic participants in underground culture makes for a fascinating read, and I’d love to use this comment chain as an introductory anecdote in a class on Urban Geography of the 21st Century. As obnoxious as the debate gets at times (it is the internet, after all), I’ve seen few better encapsulations of where David Harvey’s “right to the city” sits in the public discourse in 2016.

In the interest of being a professional reporter of this cultural geography, I’ll withhold my own opinions (though you are free to guess based on who I am and what I research, and you can always ask). One comment from a user labeled “harDCore” posted this some ways along in the comment chain:

This may come as a surprise to the NIMBYs on here but DIY music festivals like this are actually a good thing for the community. The church doesn’t do it to make money, they aren’t a for profit company, they do it to help support and be a part of their community. Events based around music like this keep kids off the streets and has them doing something constructive and positive instead of just doing drugs and becoming criminals. The church isn’t selling booze so people aren’t drunkenly disorderly around the event either. There’s less as less places for youth to play music in this city as the property costs keep going up and developers take over (the Union Arts building being turned into a luxury hotel is a good recent example of this). We need local and community art and music in DC, don’t try to push it out. I suggest Googling things like Positive Force DC and getting a better understanding of what a punk concert or festival really means to the community.

And I suppose the armchair lawyers commenting here didn’t realize that the festival had permits for the event, which the police know about, and why they weren’t doing anything if the permits weren’t being violated.

In the end if you want to live in a sterile, art free environment maybe the suburbs are for you.

The attitudes of the so-called NIMBYs continue a long tradition of city property owners who celebrate the arts until said arts create a disruption. Straw’s talk touches upon this, citing the late-19th-century sentiment that lighting up the urban night would eliminate “iniquity,” but instead created new shades (literally) of it. Perhaps some believe that moneyed development is to the late 20th century what artificial light was to the late 19th? Money has unquestionably shifted the “undesirable” elements, but it has not eliminated them, and in some ways, drawn even more attention to them. I find it hard to believe that the irony of the DC Public Library’s well-publicized punk archive would be lost on people committed to their city’s growth but not its history. This also belies Mt. Pleasant’s recent history as a predominantly underclass (and radical) Latin-American enclave, which is an entire other history that could easily compose its own post.

Anyway, I wish I didn’t have to say that there are no correct answers… but there are no correct answers; only correct attitudes. I look forward to following this issue as it continues to unfold, and maybe make it back to DC for Damaged City one of these years. For those of you who can make it (April 6-9…sadly overlapping with AAG in Boston), 2017’s event is going to be a doozy. They’ve got Marked Men!! And Siamese Twins (who I haven’t written about on this site, but every person needs to hear “Don’t Forgive Lightly” before they die).

While on the subject of gentrification, if you have access (or can obtain it) check out the lead article in the new edition of Southeastern Geographer. It’s an outstanding analysis of Knoxville’s place in that conversation, by my colleagues Scott Markley and Dr. Madhuri Sharma. Considering how much I’ve been picking through the complex geographic discussion of 21st century urbanism, this article is already proving inspirational for me. Congrats and great work to Scott and Madhuri.