Washington, D.C. Punk at SCPA and MSPAL

Banned in DC portrays the anarchic spirit, pure energy, and camaraderie of the Washington, DC punk scene in a series of 450 black and white photographs and fliers. Vividly capturing the scene's idealistic intensity, Banned in DC is an invaluable document of Washington hardcore's exuberance and aspirations.

Tells the story of Franco-American circulation of punk music, politics, and culture, focusing on the legendary Washington, DC hardcore punk scene and its less-heralded counterpart in Paris. This book tells the story of how the underground music scenes of two major world cities have influenced one another over the past fifty years. This book compiles exclusive accounts across multiple eras from a long list of iconic punk musicians, promoters, writers, and fans on both sides of the Atlantic. Through understanding how and why punk culture circulated, it tells a greater story of (sub)urban blight, the nature of counterculture, and the street-level dynamics of that centuries-old relationship between France and the United States.

A tribute to the transgressive women of the underground music scene, who not only rocked as hard as the boys, but also tested the limits of what is culturally acceptable -- even in the anarchic world of punk rock Cinderella's Big Score celebrates the contributions of punk's oft-overlooked female artists, explores the latent -- and not so latent -- sexism of indie rock (so often thought of as the hallowed ground of progressive movements), and tells the story of how these women created spaces for themselves in a sometimes limited or exclusionary environment. Raha focuses on the United States and England from the '70s through the '90s, and illuminates how the influential women of this time shaped the female rockers of the '90s and today. For researchers of D.C. punk, this book includes chapters on Jenny Toomey and Bikini Kill.

The nation's capital gave birth to the most influential punk underground of the '80s and '90s. Dance of Days recounts the rise of trailblazing artists such as Bad Brains, Henry Rollins, Minor Threat, Rites of Spring, Fugazi, and Bikini Kill.

First published to critical acclaim in 1999 and reprinted numerous times, Fucked Up and Photocopied: Instant Art of the Punk Rock Movement is still the seminal book on the art of punk rock fliers. While most attention has been paid to the phenomenal archive of images in the book, the essays contained offer an incredible snapshot of the birth of the movement and its lasting legacy. The Fucked Up Reader collects all these insightful pieces together alongside those contained in the follow up Punk is Dead, Punk is Everything. Includes an interview with Ian MacKaye and writings by Kid Congo Powers, Kenny Inouye of Marginal Man, Pete Stahl of Scream, Chris Thomson of Circus Lupus, and Andy Coronado of the Monorchid.

In the early nineties, riot grrrl exploded onto the underground music scene, inspiring girls to pick up an instrument, create fanzines, and become politically active. Rejecting both traditional gender roles and their parents' brand of feminism, riot grrrls celebrated and deconstructed femininity. The movement's message of "revolution girl-style now" soon filtered into the mainstream as "girl power," popularized by the Spice Girls and transformed into merchandising gold as shrunken T-shirts, lip glosses, and posable dolls. Though many criticized girl power as at best frivolous and at worst soulless and hypersexualized, Marisa Meltzer argues that it paved the way for today's generation of confident girls who are playing instruments and joining bands in record numbers. Girl Power examines the role of women in rock since the riot grrrl revolution, weaving Meltzer's personal anecdotes with interviews with key players such as Tobi Vail from Bikini Kill and Amy Ray of the Indigo Girls. Chronicling the legacy of artists such as Bratmobile, Sleater-Kinney, Alanis Morissette, Britney Spears, and, yes, the Spice Girls, Girl Power points the way for the future of women in rock.

Girls to the Front is the epic, definitive history of the Riot Grrrl movement--the radical feminist punk uprising that exploded into the public eye in the 1990s, altering America's gender landscape forever. Author Sara Marcus, a music and politics writer, interweaves research, interviews, and her own memories as a Riot Grrrl front-liner. Her passionate, sophisticated narrative brilliantly conveys the story of punk bands like Bikini Kill, Bratmobile, Heavens to Betsy--as well as successors like Sleater-Kinney, Partyline, and Kathleen Hanna's Le Tigre--and their effect on today's culture.

In 1979, a soon-to-erupt punk scene took hold in Washington, DC, with bands like Bad Brains, Trenchmouth, Teen Idles and the Untouchables - among others - at the forefront. Lucian Perkins, later a Pulitzer Prize-winning photojournalist for the Washington Post, was then an intern who photographed several pivotal gigs over a short period of time. His now-iconic photos of early punk concerts are complemented by essays from punk rock musicians Henry Rollins and Alec MacKaye.

For more than 40 years, hardcore and punk have promised to offer an alternative to what is perceived as the norm and the mainstream. Hardcore Research: Punk, Practice, Politics provides a comprehensive insight into some of the most active, outspoken, and widely received scholarly positions in the academic discourses on hardcore and punk and combines them with a variety of new and emerging voices. The book brings together scholars with personal ties to past and present hardcore and punk scenes, who present both insightful and critical examinations of the rich and varied histories of this subcultural phenomenon and its current reverberations at the intersection of cultural practice and academic research.

Photographs by Jim Saah of bands from the American punk scene—particularly ones from Washington, D.C.—taken between 1982 and 1997. Also includes interviews with J. Robbins, Ian MacKaye, Cynthia Connolly, Jon Langford, Pat Graham, and Shepard Fairey.

By June 1993, when Washington, D.C.'s Fugazi released their third full-length album In on the Kill Taker, the quartet was reaching a thunderous peak in popularity and influence. With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart. When the album debuted on the now-SoundScan-driven charts, Fugazi had never been more in the public eye. Few knew how difficult it had been to make this popular breakthrough. Disappointed with the sound of the self-produced Steady Diet, the band recorded with legendary engineer Steve Albini, only to scrap the sessions and record at home in D.C. with Ted Niceley, their brilliant, under-known producer. Inadvertently, Fugazi chose an unsure moment to make In on the Kill Taker: as Nirvana and Sonic Youth were yanking the American rock underground into the media glare, and "breaking" punk in every possible meaning of the word. Despite all of this, Kill Taker became an alt-rock classic in spite of itself, even as its defiant, muscular sound stood in stark contrast to everything represented by the mainstreaming of a culture and worldview they held dear. This book features new interviews with all four members of Fugazi and members of their creative community.

This book presents the best of Glen E. Friedman's photographic documentation of the D.C. punk band Fugazi's members in almost 200 color and black-and-white images captured onstage and off between 1986 and Fugazi's last US concert in 2002. Fugazi evolved from Washington, DC's, hardcore punk scene of the late 1970s and early 1980s. While it would be impossible to fully capture Fugazi in any one medium, Friedman's book effectively complements the band's Dischord Records catalog, which includes seven studio albums, one soundtrack, three EPs, and hundreds of live concert CDs produced from Fugazi's own soundboard recordings.

Featuring interviews with leading figures of the punk underground, Left of the Dial probes the legacy of punk. It touches on the movement's politics, DIY traditions, rupture of social norms, trans-generational and transnational appeal and much more. Rather than focus on discographies and rehashed gig memories, the interviews aim to unveil the secret history of punk and hardcore ideologies and values, as understood by the performers. Passionate and far-reaching, these conversations illuminate punk's history with candor and humor. Includes an interview with Ian MacKaye of Minor Threat and Fugazi.

An oral history of a notorious underground punk venue in D.C., told by the bands, fans, zinesters, promoters, graffiti artists, scenesters, senators' kids and activists who made it happen. 200+ exclusive interviews with and photos of members of Gorilla Biscuits, Bold, Sick of it All, Worlds Collide, Ignition, Swiz, Avail, Rancid, Nirvana, Danzig, Bad Religion, Tom Waits' band, Bad Brains, Hole, Hatebreed, Clutch, My Morning Jacket, and more.

Nothing Feels Good: Punk Rock, Teenagers, and Emo tells the story of the nexus point where teen culture, music, and the web converge to create something new. Earnest bands like Dashboard Confessional, Jimmy Eat World, and Thursday are quietly selling hundreds of thousands of albums through dedication, relentless touring and respect for their fans. This relationship - between young people and the empathetic music that sets them off down a road of self-discovery and self-definition - is emo, a much-maligned, mocked, and misunderstood term that has existed for nearly two decades, but has flourished only recently. In Nothing Feels Good, Andy Greenwald makes the case for emo as more than a genre - it's an essential rite of teenagehood. From the '80s to the '00s, from the basement to the stadium, from tour buses to chat rooms, and from the diary to the computer screen, Nothing Feels Good narrates the story of emo—which has its roots in the Washington, D.C. punk community— from the inside out and explores the way this movement is taking shape in real time and with real hearts on the line. Nothing Feels Good is the first book to explore this exciting moment in music history and Greenwald has been given unprecedented access to the bands and to their fans.

A musical revolution happened in the midst of Reagan's 80s: a small but sprawling network of bands, labels, fanzines, radio stations and other subversives who re-shaped and re-energized American rock music with punk rock's revolutionary do-it-yourself credo. The music that resulted was deeply personal, always challenging and immensely influential. This book traces the arc of the American indie underground in the 1980s, from obscure beginnings to the point a decade later when the mainstream sat up and took notice.

Ensminger probes the conscience of punk by going beyond the lyrics and slogans of the pithy culture war. He paints a broad, nuanced, and well-documented picture of the ongoing activism and outreach inherent in punk. Creating a people's history of punk's social, cultural, aesthetic, and political features, the book features original interviews with members of Dead Kennedys, Dead Boys, MDC, Channel 3, Snap-Her, Scream, Minutemen, TSOL, the Avengers, Blowdryers, and many more. Ensminger highlights punk money's influence on philanthropy and community involvement and paints a contextualized picture of how punk critiqued dominant culture by channeling support and media coverage for a wide array of humanitarian programs for gays and lesbians, the homeless, the disabled, environmental and health research, and other causes.

A photo book of images from DC punk, hardcore, and DIY bands captured from 2015 - 2019. These photos were made in traditional venues, dive bars, basements, warehouses, churches, galleries, living rooms, restaurants, and even a neighborhood grocery store in the DMV area. This book exists as a response to those who might think that DC punk died out in the 90s, or speak to the creativity of this community in the past tense. It is a celebration of bands who define the present, and bands who played three shows and called it. This is an argument against nostalgia, against complacency. It is a celebration of one of the most revered traditions of modern music, in the context of today.

Celebrating friendships that have been bound together by music since 1979, Susie J. Horgan's largely unpublished images were taken as friend and participant on the music scene, rather than as a journalist, and are both an exceptional contribution to the history of punk as well as a true reflection of punk values. She captured iconic photographs of such hardcore legends as Minor Threat, S.O.A., Teen Idles, Dead Kennedys, Black Flag, The Cramps, Untouchables, Youth Brigade, the Germs, and many others. Punk Love documents specifically the birth of the early Washington, D.C., punk movement in 1979. D.C. punk was a different kind of punk. It was hardcore. It was explosive. It was revolutionary. But people misread punk rock as being about hate and anger. It was spiritual. It was about self-respect and justice-basic morals and values. This is punk love.

A collection of photographs by musician Bert Queiroz, comprised mainly of images of people and bands photographed in the mid-80s in the Washington, D.C. punk and hardcore scene

In this anthology, Ensminger delves underground to explore the often overlooked community of women who shaped the punk scene. Biographies, interviews, band anecdotes, and never-before-published photos showcase the talent and artistry of dozens of bands, including some from the D.C. punk scene like Bikini Kill, Bratmobile, Jawbox, Slant 6, Fire Party, the Warmers, the Evens, Circus Lupus, and Holy Rollers.

A document of the aesthetic of American hardcore punk music and culture, this collection brings together unseen photographs, personal letters, original artwork, rare albums, 45s, T-shirts, fanzines and various ephemera from the hardcore scene circa 1978-1993. It includes more than 500 images and illustrations. With contributions from Washington, D.C. scene participants like Jeff Nelson of Minor Threat and Dave Smalley of Dag Nasty.

A vivid documentation of the punk feminist movement that emerged from America in the early 1990s, Riot Grrrl explores this pioneering scene, profiling leading exponents such as Bikini Kill, Bratmobile and Huggy Bear.

Archival material from the 1990s underground movement that served as a "gateway drug to feminist history" for so many. (--Kathleen Hanna, Bikini Kill) Before the rise of the Internet or desktop publishing, the zine and music culture of the Riot Grrrl movement empowered young women across the country to speak out against sexism and oppression, creating a powerful new force of liberation and unity within and outside of the women's movement. While feminist bands like Bikini Kill and Bratmobile fought for their place in a male-dominated punk scene, their members and fans developed an extensive DIY network of activism and support.The Riot Grrrl Collection reproduces a sampling of the original zines, posters, and printed matter for the first time since their initial distribution in the 1980s and '90s, and includes an original essay by Johanna Fateman and an introduction by Lisa Darms.

Author Mark Opsasnick provides a comprehensive history of popular music in the Washington, D.C. area from Colonial times to the end of the Vietnam War in 1975, with a strong emphasis on the emergence of rock and roll and its early development in the nation's capital. Offers a mix of cultural history, extensive night club information and detailed band and musician profiles. Includes information on founding D.C. punk and new wave bands the Slickee Boys and the Razz.

Modest Mouse, Fugazi, Bikini Kill, Blonde Redhead, and Shellac are just a few of the subjects in Pat Graham's visually stunning first book. Many of these photographs have shaped the iconography of underground rock over the past three decades. His work has centered on musicians and has been used on dozens of records, as well as in every major music publication in Europe and the United States. His work is part of the permanent collection in the Experience Music Project in Seattle. He currently lives in London.

354-page time capsule featuring in-depth interviews with Henry Rollins, Ian MacKaye, Harley Cro-Mag, Laughing Hyenas, Pushead, Bad Brains. White Zombie and 50 others from all ten issues -- plus high-quality glossy prints of the five original pullout posters.

Soulside, a band from the mid-1980s Dischord Records punk rock scene in Washington, DC, grew into maturity in a few short years, going from occasional club shows to nationwide tours and a full European tour in 1989 immediately preceding the fall of the Berlin Wall and the collapse of the Soviet Union. With songs influenced by the political and social leanings of the DC punk world of the 1980s, Soulside worked with a worldwide underground network to tour throughout North America and Europe. The four-year span of the band would end with a recording session of their last album,Hot Bodi-Gram, in Eindhoven, Holland, at the conclusion of their final tour. As a perennial photographer, graphic designer, and archivist, the band's drummer, Alexis Fleisig, has kept a collection of photos and flyers from these tours and has compiled as much as he could into this volume. The book is an ode to the people who made that journey possible, and a chronicle of the great eye-opening experiences those moments brought to the band and others.

The Washington, DC, punk scene of the 1980s gave birth to bands like Bad Brains, Minor Threat and Fugazi. Here that scene is portrayed in its purest form: an oral history by the creators themselves, including nearly 200 photographs capturing the power and spirit of this politically progressive corner of American underground music. Features rare images from Jim Saah, Cynthia Connolly, Lucian Perkins and other talented photographers of bands including Bad Brains, Teen Idles, Minor Threat, Faith, Fugazi, Soulside, Shudder to Think, Nation of Ulysses, Dag Nasty, Jawbox, Swiz, King Face and more.

In 1979, Bruce Pavitt moved from Chicago to Olympia, Washington, and began programming a show called Subterranean Pop on local community radio station KAOS-FM. In 1980, he launched Subterranean Pop magazine, dedicated to the unsung punk, new wave, and experimental regional bands of the Pacific Northwest and Midwest. In 1986, Pavitt put his ideas into practice, launching Sub Pop Records with the Sub Pop 100 compilation and Soundgarden's first release, Screaming Life. While the Sub Pop Records legacy is well known today, its groundwork is collected here for the first time. The book includes coverage of the Washington, D.C. punk scene of the early 1980s.

This book covers elements of the D.C. punk scene from 2005-2013. It includes interviews with Pat Vogel, Maurice Alvarado, Chris Moore, HR, Mark Andersen, Dave Brockie, Brian Baker, Ian Svenonius, Avi Kulawy, and Ian MacKaye. It also includes reviews of performances by the Max Levine Ensemble, Pentagram, the AKs, Give, Sick Fix, Ilsa, Fell Types, Coke Bust, Torche, Body Cop, Magrudergrind, Police and Thieves, Laughing Man, and others active during this period.

Touch and Go fanzine was published by Tesco Vee and Dave Stimson, launching in Michigan in 1979 before moving to Washington, D.C. for its later issues. Vee and Stimson were major fans of the new punk happenings in the late 1970s and early 1980s and set out to chronicle, lambast, ridicule and heap praise on all they loved and hated about music communities in the US and abroad. Touch and Go features the complete run of 22 issues from 1979-1983.

A collection of essays celebrating the history of underground American music venues. Includes a chapter on Washington, D.C. punk and indie rock clubs from the 1980s and 1990s.

A thorough overview of the 9:30 Club, one of Washington, D.C.'s most notable music venues. The book is rich with photographs, essays, and other information on the club, which opened in 1980 and still thrives.