For the record, Ian MacKaye is on my list alongside Johnny Rotten, Kurt Cobain, Michael Gira and Thurston Moore as one of the most epoch-making figures in punk rock over the past thirty years. I make the judgment not on record sales or temporary tabloid worthiness but on being a catalyst for numerous bands and resulting strands of musical endeavour. A sincere salute.
The gentlemen behind this film have entered the production phase but, as they’re essentially self-funding this, I can only encourage and support their request for donations toward the conclusion of this work.
The film seems to provide the cinematic counterpoint to the excellent Dance of Days: Two Decades of Punk in the Nation’s Capital. The surprising quality of the footage, the slivers of revealing interview…And yes, Dave Grohl lines up to discuss his time in DC stars Scream.
By synthesising two guys tied to the North-West grunge scene, with their new drummer from the East Coast hardcore scene, Nirvana essentially placed a full-stop on the underground scene of the Eighties. While various bands and outfits dragged the overall genre in new directions at various points of the decade, the defining geographic entities were Washington DC and Seattle, the defining labels became Dischord and Sub Pop.
There’s a fair argument that the latter learned from the former. Their impact came from tying themselves so firmly to a specific location, they were not just labels based in a particular location, putting out bands who happened to be from a certain place; they made their identity synonymous with the city from which they were from and during their defining days they bound the bands on each label to that same specific identity.
The more open geography of labels such as SST or Alternative Tentacles gathered up many of the best bands playing but never unified those bands. The DC/Seattle identities gave the illusion of a gang, a home turf, people known to each other and gathered round the label flag. That sense of intimacy made each label stand out and makes it impossible to separate the label from the city and the bands from either. It’s comparable to the way bands are regularly portrayed as ‘bands of brothers’. That united front can equally apply to a label or a place and seems equally attractive; a community of people choosing to believe in and support a sound, an approach, a philosophy. It’s, to some extent, illusionary, a projection of external desire for something to belong to onto the bands/labels/people at its centre, but it retains huge power as an idea.
So! Salad Days! Take a look, support, encourage…And sometime soon I hope we’ll see the finished product. Here’s the Facebook group for further updates and beyond that…Scott Crawford and Jim Saah? I salute thee.