So yes, we won: indie rock was well established, and musicians could now earn a decent living making music even for fairly specialized audiences. And yet the vitality of the music and the community was severely diminished. The revolution had been largely successful, but as it turned out, the struggle was much more fun than the victory.
As the new century dawned, more and more major labels got swallowed up by colossal multinational corporations, and a blockbuster mentality pervaded the music industry. The lowest common denominator prevailed more than ever as corporate bean counters effectively became A&R people, making sales potential an even more critical factor. The situation closely resembled the turn of the previous decade, when flimsy teen-pop acts like New Kids on the Block and Debbie Gibson dominated the charts; this time around it was ’N Sync and Britney Spears, and the marketing was even more fiendishly brilliant.
Since pop history repeats itself with regularity, another underground scene was surely brewing in response to kiddie pop’s hegemony, just like it did last time. So where would the “next Seattle” be? Some thought it would be Chapel Hill. At one point it looked as if maybe it was Chicago, or perhaps Berkeley. But maybe the next Seattle will be both nowhere and everywhere—maybe it will be on the Internet.
At the end of the Nineties it became apparent that digital distribution of music was to be the future. Digital recording, laser printers, and home CD burners, not to mention MP3 software, had already become readily available, meaning that anyone—even (gasp) musicians—could achieve an unprecedented vertical integration by making, recording, packaging, and distributing their own music. And the networking and word-of-mouth potential of e-mail and linked Web sites is almost too vast to comprehend. This dwarfs the empowering breakthroughs in technology of the early Eighties, when people were suddenly able to photocopy their own magazines, and make their own multitrack recordings and dupe them off on their home boom box. The Internet allows DIY to range far beyond anyone’s wildest dreams.
In the Seventies and Eighties the indie underground reclaimed rock’s standing as the sound of a rebellious youth culture founded on deep and far-reaching beliefs. But after 1991 that culture became compromised in both the underground and the mainstream. The mainstream took some of indie rock’s righteous zeal and sold a dilute portion of it to the masses. Indie rock also coasted on the work of its Eighties forebears, albeit largely shorn of many of their dearly held principles. The likes of Fugazi and Mike Watt were held up as human talismans of values and virtues that many either took for granted, considered passé, or just felt were too righteous to be workable.
As the indie scene exploded in the early Nineties, principled folks like Watt, Ian MacKaye, Sonic Youth, Steve Albini, Gerard Cosloy, Calvin Johnson, and others were now seen as respected veterans whom the more conscientious newcomers looked to for guidance in defending the ever diminishing distance between the underground and the mainstream. This select group, most of them born in the early Sixties, became elder statespeople just as they turned thirty.
All of these people were also enjoying the fruits of their labor, whether it was a major label deal, a commercially successful label, plum recording jobs, or simply the respect and adoration of not only their peers but a whole new generation of the underground. But unlike in the old days, there was now remarkably little interaction between these kingpins—perhaps they no longer needed each other; perhaps they were reluctant to be perceived as dwelling in the past; perhaps they enjoyed being a mentor more than being a peer. At any rate, that initial nucleus had split up into several different constellations, each with its own charismatic center.
Back in the Eighties the indie underground had been a much tougher place to live. Even the top bands lived extremely modestly and depended on one another for anything from club bookings to sleeping accommodations. They had the imagination to make it up as they went along, not even knowing where it would all lead. Pioneers like Black Flag, the Minutemen, and Mission of Burma had not a prayer of more widespread success; then again, they couldn’t have cared less—the big time was simply out of the question. Other bands, like the Replacements and the Butthole Surfers, had big rock dreams despite some very small rock realities; signing to a major label was the fulfillment of a longstanding ambition, whether they admitted it or not. Others, like Big Black, Fugazi, and Beat Happening, found the mainstream repulsive and could never be persuaded to wade into its fetid waters. Still others, like Dinosaur Jr and Mudhoney, had few political qualms about the majors and simply made the jump when it seemed sensible to.
But they all found a way to make a career in music against some serious odds. They did so by dint of their own initiative, resourcefulness, and probably a fair amount of naïveté. They took the path less taken—a path largely unpaved, far more perilous, and with precious few signposts—but ultimately more rewarding. And in so doing, they lived out a very basic premise of punk: Think for yourself.
ACKNOWLEDGMENTS
First and foremost, I thank everyone who so graciously consented to an interview for this book. Thank you so much for your time, your reminiscences, your support, your trust, and, most of all, your inspiration. I couldn’t have done it without you.
There are a number of people who supplied research materials, advice, encouragement, contacts, or a place to stay, and I thank them profusely for helping out with this project: Mike Appelstein, Matt Ashare, Shelley Barrett and Michael and Lucie O’Clair, Yves Beauvais, Scott Becker, Chris Buck, Melissa Burnel, Catherine and Nicholas Ceresole, Jamie Clark, Steve Connell, Pat Daly, John Davidson, Dave Derby, Ric Dube, Jack Endino and Dawn Anderson, Dave Fisher, Charles Ford, Clif Garboden, Mike Gitter, Fred Goodman, Ted Gottfried, Trevor Grace, David Grad, Bobby Haber, John Henderson, Maureen Herman, Paul Hilcoff, Austin Hughes, Mark Jannot, Streator Johnson, Sonya Kolowrat, Greg Kot, Jessica Letkemann, James Lindbloom, Brian Long, Tristram Lozaw, Dave Markey, Craig Marks, Lynn McCutcheon, Legs McNeil, Mr. Peabody and Sherman, Michael Pietsch, Jack Rabid and The Big Takeover, Luisa Reichenheim, Chip Rossetti, Ruth and Ned Rust, Steve Salett, Deborah and Lorenzo and Jacob and Isaac Savona, Geoff Shandler, Kathy Shine, Doug Summa, Johnny Temple, Jenny Toomey, Paul Wehle, Vicky Wheeler, Douglas Wolk, Justin Wood, Howard Wuelfing.
And there are a few people who went way above and beyond the call of duty to help with this project, and I cannot thank them enough. Simply put, the following folks totally rule:
Lori Barbero
Shannon Byrne
Joe Carducci
Cynthia Connolly
Scott Giampino and Ali Hedrick
Peter Jesperson
Ben London and the Experience Music Project
Elizabeth Nagle
Ira A. Robbins
Janet Treadaway
Lydia Wills
This book is for D. Boon and Bob Stinson.
BIBLIOGRAPHY
BOOKS
Banned in DC: Photos and Anecdotes from the DC Punk Underground (79–85), compiled by Cynthia Connolly, Leslie Clague, and Sharon Cheslow (Sun Dog Propaganda).
Confusion Is Next: The Sonic Youth Story, by Alec Foege (St. Martin’s Press).
Dance of Days: A History of the DC Punk Underground 1975–1994, by Mark Andersen (Pressure Drop Press, unpublished).
Five Against One: The Pearl Jam Story, by Kim Neely (Penguin).
Get in the Van: On the Road with Black Flag, Henry Rollins (2.13.61).
Grrrls: Viva Rock Divas, by Amy Raphael (St. Martin’s Griffin).
Hardcore California: A History of Punk and New Wave, by Peter Belsito and Bob Davis (The Last Gasp of San Francisco).
Hell on Wheels: A Tour Stories Compilation, by Greg Jacobs (Rockpress).
I Dreamed of Noise, by Ignacio Julia and Jaime Gonzalo (Ruta 66).
Instant Litter, compiled by Art Chantry (Red Comet Press).
jrnls80s, by Lee Ranaldo (Soft Skull Press).
Loser: The Real Seattle Music Story, by Clark Humphreys (Feral House).
Planet Joe, by Joe Cole (2.
13.61).
Post Punk Diary: 1980–1982, by George Gimarc (St. Martin’s Griffin).
Rock and the Pop Narcotic, by Joe Carducci (2.13.61).
Rock & Roll: An Unruly History, by Robert Palmer (Harmony).
Rolling Stone: The 100 Greatest Albums of the 80’s (St. Martin’s Press).
Route 666: On the Road to Nirvana, by Gina Arnold (St. Martin’s Press).
The Secret History of Rock, by Roni Sarig (Billboard).
Soundgarden: New Metal Crown, by Chris Nickson (St. Martin’s Griffin).
Spin Alternative Record Guide, edited by Eric Weisbard with Craig Marks (Vintage).
The Trouser Press Record Guide (fourth ed.), edited by Ira Robbins (Collier).
Turned On: A Biography of Henry Rollins, by James Parker (Phoenix House).
Waiting for the Sun, by Barney Hoskyns (St. Martin’s Press).
VIDEOGRAPHY
Another State of Mind, directed by Adam Small and Peter Stuart (Time Bomb).
The Best of Flipside Video #2: Minor Threat/Minutemen Live!, director unknown (Flipside Video).
The Decline of Western Civilization, directed by Penelope Spheeris (out of print).
Fugazi: Instrument, directed by Jem Cohen (Dischord Records).
The History of Rock ’n’ Roll: Punk (vol. 9) (Warner Home Video/Time-Life Video & Television).
Minor Threat Live, taped by Mitch Parker, Charlie Towne, Gerry Weiss, Tim Kor, Ray Barry, and Dave Wells (Dischord Records).
Mission of Burma: Live at the Bradford, directed by Paul Rachman (Ace of Hearts Records).
The Scott & Gary Show: Butthole Surfers episode (1984), directed by Scott Lewis and Gary Winter (unreleased).
The Shield Around the K: The Story of K Records, directed by Heather Rose Dominic (Northstar Pictures).
The Slog Movie!: L.A. Hardcore Archives ’81, directed by Dave Markey (We Got Power Films).
Sonic Youth: Gila Monster Jamboree, director unknown.
Sonic Youth: Screaming Fields of Sonic Love, various directors (Geffen Home Video).
FANZINES, MAGAZINES, AND NEWSPAPERS
Action Teen
Alternative America
Alternative Focus
Backlash
Bang!
The Big Takeover
The Bob
Brand New Age
The Catalogue
Chemical Imbalance
Chicago Reader
Chicago Sun-Times
City Pages
Clutch
D’Art
Dakota Student
Desperate Times
East Bay Express
Ego Trip
Flesh and Bones
Flipside
Forced Exposure
Gavin Report
Goldmine
Hard Times
Hype
L.A. Herald
Mac Weekly
Matter
Melody Maker
Minneapolis Star and Tribune
Minnesota Daily
Minnesota Tribune
Motorbooty
Musician
New York
NME
Noiseworks
Non-Stop Banter
Pages of Rage
Paperback Jukebox
Publicsfear
Pulse!
Punk Planet (PO Box 464, Chicago IL 60690)
Rockpool
Seattle Rocket
Seattle Times
Seattle Weekly
Select
Skateboarder’s Action Now
Sounds
Squealer
The Stranger
Sub Pop
Suburban Punk
Suburban Relapse (photocopy)
Suburban Voice
Swellsville
Thrillseeker
Toronto Now
Traffic
Truly Needy
Ultra
Uncle Fester
Uno Mas
U.S. Rock
Village Noize
Writer’s Block
Zigzag
MISCELLANEOUS
“All Things Considered” (NPR Radio show)
Bang Zoom (cassette zine)
Boon & Watt interview tape by unknown
Butthole Surfers bio
Confusion Is Sex liner notes
“Fresh Air” (NPR Radio show)
Interview by Streator Johnson with Calvin Johnson and Bret Lunsford (http://www.geocities.com/Paris/1618/interview.html)
Interview with Bob Mould by “Free” (unpublished transcript)
Online Daily (University of Washington)
Sister interview disc
Sonic Life booklet
ABOUT THE AUTHOR
Michael Azerrad is the author of the bestselling Come As You Are: The Story of Nirvana and Screaming Life: A Chronicle of the Seattle Music Scene. He has written for a number of magazines, including Rolling Stone, Revolver, and Spin. He lives in New York City.
ALSO BY MICHAEL AZERRAD
Come as You Are: The Story of Nirvana
Screaming Life: A Chronicle of the Seattle Music Scene
See a Little Light: The Trail of Rage and Melody (with Bob Mould)
Extraordinary praise for Michael Azerrad’s
Our Band Could Be Your Life
Scenes from the American Indie Underground 1981–1991
“You don’t have to like all thirteen bands Azerrad chronicles to feel the desperate exhilaration of their speed-fueled van tours of seedy motels, hole-in-the-wall clubs, and the endless highway. Azerrad is a true believer and… exhibits infinite patience with his subjects’ road stories and struggles with the irresolvable dilemma of indie purity vs. mainstream success.”
—Anthony Decurtis, Rolling Stone
“A compelling book. Azerrad exhaustively chronicles thirteen legendary, wholly deserving bands.”
—Tim Kenneally, Spin
“Extensively researched…. Music-lore junkies will geek out over Azerrad’s enviable access to many of the period’s biggest names (from Mike Watt to Henry Rollins).”
—Brian M. Raftery, Entertainment Weekly
“Azerrad does a fine job of demonstrating how the post-punk prime movers of the eighties echoed the original rock-and-rollers of the fifties—springing from a complacent political climate to reject the sentimental excesses of the music that preceded them.”
—The New Yorker
“Anyone hoping to start a revolution would do well to spend time with this book.”
—Keith Phipps, The Onion
“This book is essential for anyone who feels personally insulted by the Grammys, MTV, Top 40 radio, etc., etc. I am sorry for anyone who never got the chance to discover indie rock, or, worse, chose to ignore it.”
—Janeane Garofalo
“Azerrad flawlessly captures the essence of alternative music while still avoiding the clichés of music journalism. And he does it without letting his clear admiration for many of those profiled lapse into hagiography.”
—Joe Beaulieu, National Review
“The annals of rock are famously filled with outsize characters and ultra-strange anecdotes, and this tirelessly researched book—a vivid chronicle of the under-investigated field of indie rock in the 1980s, from Black Flag and Mission of Burma to Sonic Youth, the Replacements, the great Hüsker Dü, the sort-of-scary Big Black, and the intransigently idealistic Fugazi—adds a whole bunch more to the canon. A must-read for anyone who thinks rock stopped signifying after 1977.”
—Kurt Loder, MTV
“Azerrad’s book is a portrait of the world before Nirvana, a vanished age when ‘indie’ referred to music, not film…. Azerrad details the physical violence and ideological controversies that swirled around hardcore bands.”
—Alexander Star, Nation
“Azerrad’s book stands as a reminder that music is indeed often worth fighting for, and that even the constraints of big corporations can’t always withstand the power of pur
e adulation and a strong support network.”
—Joshua Klein, In These Times
“More than just an invaluable source of knowledge of many of the greatest rock & roll bands of the past twenty years, Azerrad’s work offers a glimpse into the angry, spirited, us-against-the-world thump of the Minor Threats and Hüsker Düs of the land, lamenting that ‘the revolution had been largely successful, but… the struggle was much more fun than the victory.’ ”
—Michael Chamy, Austin Chronicle
“Fascinating…. An essential read for anyone intrigued by the motivations that drive earnest rock music.”
—Chuck Klosterman, Beacon Journal
“An exceptional look at some of the alt-rock nation’s pioneers…. An extremely entertaining tale of bands at odds with the mainstream, yet able to connect with the pockets of kids that related to them the way their older brothers and sisters related to the Beatles, the Stones, Led Zeppelin, and Alice Cooper.”
—Mike Villano, Billboard Review
“Azerrad’s new book finally gives an entire generation of influential and fiercely independent bands their due…. Our Band Could Be Your Life effectively captures what is now commonly referred to as indie rock in all its intensely passionate, do-it-yourself glory.”
—Jason Gargano, Cincinnati City Beat
“One of ‘Our 25 Favorite Books of 2001.’ ”
—Village Voice
“A substantial, elegantly rendered assessment of the indie rock era…. A well-done, thoroughly detailed look at the stories behind the music that captures both the heart and the eccentricity of outsider rock’s golden age.”
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