Visualizing the [Information] History of Fugazi

This is an amazing set of graphics and information:

go HERE to see it.

Subjects include:

The International Fugazi Tour Network

Unconventional Venues

Local Activism & Fundraising

Fellow Travellers

Family Tree

small screen shot sample below of one of the several graphics.

Data & Methodology

List of shows scraped from the Fugazi Live Series website, using the Data Miner Chrome extension. I then used a geocoder to generate latitude and longitude coordinates for each show, based on the city, state, and country fields. For the shows in Washington, I replaced the generated values with more precise values, by looking up the lat + long coordinates for each DC venue based on their street address.

Detail pages for each show often noted when the show was a benefit. I manually added benefit show information into the data table, and then used the following calculation to figure out how much money they raised: Door Price multipled by the Number of Attendees, minus 20% to pay the sound person and other incidentals. These are approximate amounts. I also pulled “Bands played with” data from the show detail pages, and used Tableau Prep to separate the list out to individual entries, correct any misspellings or duplicate entries, and then get counts.

For the Family Tree visualization, I sourced the data from bandtoband.com, an online database of connections between bands, by shared members. Bandtoband.com considers a band member to be someone who played on a recording, so someone who was only part of a live lineup or just joined for one tour are not in the database. Technically Fugazi had a fifth member for their last years as an active band: Jerry Busher. He played a 2nd drumkit and other instruments, both live and on the album “The Argument.” I left him out of the first ring as a he is not a “main member” of Fugazi for most of their career, but represented him on the Family Tree by his appearance in the bands French Toast, All Scars, and Fidelity Jones.

youtube find: Before 1976: How Punk Became Punk

this is not half bad... and in fact very cool in spots...

BLACK FLAG Target Video complete (incredible half hour of clips)

‘Punk’: Johnny Rotten, Marky Ramone Spar at ‘Off the F–king Rails’ Documentary Event

interesting all the short clips around the internet took all this insanity out of context and made it so much worse than what it was.

The Undertones - Teenage Kicks

from the YouTuber who posted this classic:

John Peel's favourite ever song and not hard to understand why. Timeless teenage frustration in 2 and a half minutes of raucous pop punk heaven. Play it loud and feel free to pogo -- you know you want to.

Download their album Teenage Kicks on iTunes : http://apple.co/29ixys6
Buy their album Teenage Kicks on Amazon : http://amzn.to/29gNkye
Listen to Teenage Kicks on Spotify : http://spoti.fi/29hsenf

Minor Threat rarely if ever seen image from The Idealist

one option to get "the idealist" book is HERE.

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This photograph of IAN MACKAYE on stage at CBGBs c. 1981/82 with his band MINOR THREAT appears only in my book THE IDEALIST “In My Eyes - 25 Years” you can read in my previous posts what this book is all about, or on line search the title of the book. . . The link in my bio will take you directly to amazon page where it’s still available (or if you can find it anywhere at all go for it). . . MINOR THREAT and Ian could not have been much more inspiration then they have been in the last decades since they first released a record. This photo is pretty heavy, Ian encircled on the ground still yelling his lyrics with such overwhelming enthusiasm around him, it almost looks as though they are fighting him. . . Although there are several skateboarding images and PUNK and Hip Hop photos, this book is an ART book with a political bend as well, with several essays scattered throughout, as i tend to do, from Ian MacKaye, Cornel West, and Ian F. Svenonius to Ralph Nader. . . This is one of my all time favorites. For the real art and photography buffs out there. 👊🏽✌🏽✊🏽 . #FILM #Inspiration #Integrity #35mm #ART #Photography #International #TheIdealist #PUNK #Landscapes #harDCore #MinorThreat #SingAlong #IanMacKaye #LoudFastRules #CBGB #Beauty #HipHop #Skateboarding #Politics #Composition #character #book 1976 -2001

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Jan 30, 2019 at 6:28pm PST

the end of Maximum Rocknroll as a monthly print fanzine.

From the MRR Board of Directors:

It is with heavy hearts that we are announcing the end of Maximum Rocknroll as a monthly print fanzine. There will be three more issues of the fanzine in its current format; late in 2019 we will begin publishing record reviews online alongside our weekly radio show. Readers can look forward to more online content, updates regarding the archive project initiated in 2016, and other yet-to-be-announced MRR projects, as well as new ways for punks around the world to get involved.

Maximum Rocknroll began as a radio show in 1977. For the founders of Maximum Rocknroll, the driving impulse behind the radio show was simple: an unabashed, uncompromising love of punk rock. In 1982, buoyed by burgeoning DIY punk and hardcore scenes all over the world, the founders of the show — Tim Yohannan & the gang — launched Maximum Rocknroll as a print fanzine. That first issue drew a line in the sand between the so-called punks who mimicked society’s worst attributes — the “apolitical, anti-historical, and anti-intellectual,” the ignorant, racist, and violent — and MRR’s principled dedication to promoting a true alternative to the doldrums of the mainstream. That dedication included anti-corporate ideals, avowedly leftist politics, and relentless enthusiasm for DIY punk and hardcore bands and scenes from every inhabited continent of the globe. Over the next several decades, what started as a do-it-yourself labor of love among a handful of friends and fellow travelers has extended to include literally thousands of volunteers and hundreds of thousands of readers. Today, forty-two years after that first radio show, there have been well over 1600 episodes of MRR radio and 400 issues of Maximum Rocknroll fanzine — not to mention some show spaces, record stores, and distros started along the way — all capturing the mood and sound of international DIY punk rock: wild, ebullient, irreverent, and oppositional.

Needless to say, the landscape of the punk underground has shifted over the years, as has the world of print media. Many of the names and faces behind Maximum Rocknroll have changed too. Yet with every such shift, MRR has continued to remind readers that punk rock isn’t any one person, one band, or even one fanzine. It is an idea, an ethos, a fuck you to the status quo, a belief that a different kind of world and a different kind of sound is ours for the making.

These changes do not mean that Maximum Rocknroll is coming to an end. We are still the place to turn if you care about Swedish girl bands or Brazilian thrash or Italian anarchist publications or Filipino teenagers making anti-state pogo punk, if you are interested in media made by punks for punks, if you still believe in the power and potential of autonomously produced and underground culture. We certainly still do, and look forward to the surprises, challenges, and joys that this next chapter will bring. Long live Maximum Rocknroll.

A very frank discussion with the community I was happy to participate in at the time...



I was a contributor for a while back in the early 80's and was introduced to some great people who I met through that community, some that are no longer living and some that remain friends to this day.

Nice run MRR!

-GEF



p.s. one of my photos on this old cover :

Check Out and Follow this Instagram Account

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A post shared by martin sprouse (@3chordpolitics) on Jan 4, 2019 at 4:27pm PST

Rodney Mullen skating with Minor Threat from my IG

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RODNEY MULLEN freestyle perfectionist doing his thing as MINOR THREAT look on. Kenter Canyon School yard circa 1982. This photograph along with an incredible essay written by Rodney about this unique day in his life appear in the MY RULES book. A tour de force, the longest of 22 essays written by subjects in the massive 324 page art book. #integrity #inspiration #skateboarding #punk #photography #Kenter #knowYourRoots #BonesBrigade #MinorThreat @dischordrecords @rodneymullen

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Dec 28, 2018 at 7:52am PST

Welcome to The Harley Flanagan ShowPoolside With Keith Morris

How ‘The Walking Dead’ helps Revere High School make the grade

from The Boston Globe:
Revere adopted a method more common to affluent private schools, and boosted academic performance. Now it is evangelizing the technique.
Teacher Nancy Barile with some of her students from Revere High School.

Most days in Nancy Barile’s English course at Revere High School, a visitor might begin to wonder when the real class is going to start. Discussions focus on plot points, character development, and persuasive writing, yes, but the text at their center isn’t Hamlet or Catcher in the Rye. It’s the television series The Walking Dead.

Three years ago a student who wasn’t completing his work dared Barile to watch the zombie show, saying he’d study if she did. Another teacher might have balked, but Barile had helped organize a punk rock scene growing up in Philadelphia and brings that “why not try it?” ethos to her teaching. She watched the series and then built an entire curriculum around it (content rated TV-MA means the course is only open to juniors and seniors). “The show has everything — sociology, psychology, interpersonal relations, ethics,” says Barile, who is in her 24th year of teaching. “We watch the show and dissect it.”

In class, students study all the familiar concepts of high school English, but they’re applying these concepts to a work they care about passionately. Through the lessons, they also have greater control over the pace and content of their curriculum. Barile says students who take the class are more engaged and show more improvement in their writing. The juniors are more likely to sign up for AP English as seniors than students who take other classes.

Barile’s class is a prime example of how Revere High School uses “student-centered learning” to reach a highly diverse student body. Under this approach, lessons are structured around the interests and needs of students, not box-checking convenience for teachers and administrators. Students learn at different paces and via different teaching styles, the thinking goes. Give them more control over the manner in which they’re taught and how their work is assessed and you’ll produce more involved, successful students. In history, students might pick historical characters and analyze major events of their era from the character’s perspective. Math students might flip the class, watching videos explaining the concept beforehand, then use the teacher as a coach during class time — if they need help.

Revere’s school district is one of the leaders in Massachusetts in advancing student-centered learning, which is surprising on multiple levels. It’s an approach associated with affluent private schools — free from state curricula and testing mandates. But Revere is a working-class city just north of Boston Logan International Airport, best known for having the oldest public beach in the country. About 80 percent of the high school’s 1,900 students come from low-income households, district officials say. Many are recent immigrants — 32 different languages were represented in the student body last year — whose English skills may be limited at best (about 19 percent are categorized as English language learners).

Also, Massachusetts public schools have been relatively slow to adopt student-centered learning, perhaps in part because traditional teaching approaches seem to work so well here — last year the state’s averages topped the National Assessment of Educational Progress test scores in reading and math. Other states, such as Virginia, which has tried to limit standardized testing and replace it with locally designed ways of measuring student achievement, are much further along in adopting student-centered learning principles in the public schools, says Rebecca E. Wolfe, associate vice president of Jobs for the Future, a Boston-based nonprofit that helps educators and school districts adopt student-centered learning.

Revere High’s move to student-centered learning started when Lourenco Garcia became its principal in 2010. Garcia, who held the role until this summer, was concerned that so many students seemed unable to connect with their teachers or the material. This was reflected in the school’s standardized test scores, particularly those of minority students. Only 50 percent of its black students and 63 percent of its Hispanic students had achieved proficient or advanced scores on the Massachusetts Comprehensive Assessment System statewide English test in 2009. Garcia, who had taught for 16 years in Brockton before becoming a high school principal in Rhode Island, researched student-centered learning and felt the techniques could provide an antidote to a form of torture found too frequently in schools: boredom.

He thinks the approach is especially potent for immigrant students, who often feel disempowered as they adapt to a new country. Garcia himself came to the United States 22 years ago from the island nation of Cape Verde.

Finally, the approach breaks from traditional classrooms where students are expected to sit and listen. “That’s the old factory model, where you were a passive learner,” he says. “This approach is dynamic. It motivates kids and brings a lot of enthusiasm into the classroom.”

At Revere High School, students use the show “The Walking Dead” to study English concepts, instead of classic texts. From left: Students Jenna Geraci, Michael Guzman, and Joselyn Bonilla Rosales.

After Garcia implemented student-centered learning at Revere High, proficient or advanced scores on the MCAS for English jumped; in 2017, 82 percent of black students and 77 percent of Hispanic students achieved them. Gains were just as dramatic in math and science. The school’s four-year adjusted graduation rate rose from 71.5 percent in 2009 to 87.9 percent in 2017.

For a district with Revere’s demographics, this sort of performance drew national attention. In 2014, the high school was chosen as the top urban high school in America by the National Center for Urban School Transformation. Educators from as far away as Ohio, Texas, and California — and as nearby as Harvard University — flocked to the oceanside town to see the method in action. Candice Hazelwood, an educational consultant who was part of a group of Ohio educators that visited Revere in 2017, says “they have taken giving the students a voice to another level.”

* * *

IT’S HARD TO HEAR above the two dozen students in Charles Willis’s class The History of Revere, which looks at how the community, first settled in the 1630s, has changed over time. The students have separated into groups to discuss oral history interviews they had conducted at a local senior center, an assignment they largely designed themselves as a way to get real-life examples of the city’s evolution.

Students have a say in how the classroom experience is structured, as well. They sit alongside teachers on some of Revere High’s 12 school improvement teams that focus on different aspects of student-centered learning, such as how students demonstrate proficiency, or how to extend learning beyond classroom walls. The teams sign off on all major changes at the school, meaning little goes forward without teacher buy-in.

The flip side of Garcia’s allowing teachers and students more creativity was requiring more accountability. In a school setting, that translated to more scrutiny. Garcia set a rule that he and his senior staff observe at least two teachers every single day. They fan out across the school, slipping into classrooms and watching what the teachers do, and how students respond, then write up an observation report within three days.

Garcia, 55, has an inclusive leadership style, and is known for working hard to connect with students. He plays a little game he calls “Where in the world is this student from?” On a spring day last school year, he spots a young man in the school cafeteria wearing a green sweatshirt and preparing to inhale a sandwich. Garcia walks over and asks, in perfect Portuguese, “Voce e do Brasil?” (“Are you from Brazil?”)

A smile creases the teen’s smooth face as he nods. Garcia smiles back. When he immigrated at the urging of family members who were already here, Garcia knew only a few words of English. But he’s good with languages — he speaks seven (Portuguese, English, Spanish, Italian, French, Russian, and Cape Verdean Creole). He also knows how hard it is to make it as an immigrant. He did odd jobs — bagging groceries, working in a laundromat — to support his family while he attended college, on his way to a job as a social studies teacher in Brockton.

Garcia believes principals and teachers don’t have to have his experience as an immigrant and a minority to make student-centered learning work in schools with significant percentages of both. He was the only minority in a leadership role at Revere High, for instance.

Revere, along with a handful of other Massachusetts school districts, is trying to spread this style of learning. Three years ago, Revere was among six school districts — the others were Attleboro, Boston, Lowell, Somerville, and Winchester — to start the Massachusetts Consortium for Innovative Education Assessment to advance personalized learning and student assessment. So far, the consortium has trained teachers in 40 schools to swap multiple-choice tests for more creative ways of evaluating students, such as podcast production, narrative writing assignments, and architectural design projects. (The Revere school district received a grant for its work from the Nellie Mae Education Foundation, also one of The Hechinger Report’s donors.)

Somerville aims to make student-centered learning apply not just to the academic but also to the physical, social, and emotional well-being of students, says Mary Skipper, superintendent of Somerville’s schools. The district is now renovating Somerville High School to introduce flexible classrooms conducive to collaborative work, one way to reduce the time students spend listening to a teacher lecture. “The ultimate goal is to have projects that incorporate things that motivate students, that they like, and from that be able to teach a variety of standards,” Skipper says.

While student-centered learning has shown promise for schools with high numbers of low-income students, including four Northern California high schools studied by Stanford, the approach has yet to be tried on a large scale. But Revere has found that progress isn’t always steady, and it doesn’t work with every student.

Recently, an influx of immigrant students with little formal education affected Revere High’s performance on some state measures, hitting pause on the school’s climb on state rankings during Garcia’s tenure. The high school dropped from a Level 1 school in 2015 to a Level 3 school in 2017 on the state report card, which looks at standardized test scores. The Massachusetts Department of Elementary and Secondary Education announced last December that it would no longer use the 1-5 levels to rate schools, moving away from relying so heavily on standardized tests to label schools. That decision, too, is part of the accelerating shift away from top-down, one-size-fits-all approaches to education.

“Assessment drives what gets taught and how it’s taught,” says Dan French, executive director of the Center for Collaborative Education, a Boston group that’s working with the student-centered learning consortium. “If students are focused on rote memorization to pass a state test, they will not be prepared for the higher-level thinking required in college and increasingly in careers.”

French says employers increasingly complain that graduates come to them unable to perform tasks needed to help their businesses thrive, such as analyzing and synthesizing data and collaborating with teammates. In effect, the focus on standardized tests winds up harming business productivity and the national and local economies. French says the desired skills are much more likely to be developed in a student-centered learning environment.

Samantha Karl, who graduated from Revere High School in 2017, says she and her classmates appreciated the school’s approach because it allowed them to move at their own pace. “For someone like me who likes to move a little faster, if I understood something I wouldn’t have to spend class listening to the teacher going over something I already understand,” says Karl. She says even the class clowns “started showing up to class prepared.”

Karl, now a sophomore at Boston College, thinks learning to work on her own prepared her for college in a way that she might not have experienced in a more traditional system.

Revere is moving to spread student-centered learning across its 11 schools. This past summer, Garcia was promoted to executive director of data and accountability for the entire Revere district. Part of his job will be evangelizing for student-centered learning.

Revere’s superintendent, Dianne Kelly, says she created the position for Garcia because of his ability to identify struggling students and develop creative strategies to help them. John Perella, a Revere native and an assistant principal at the high school (before Garcia’s arrival) who spent the past seven years as principal of Medford High School, was named to replace Garcia. Perella says student-centered learning will continue to be a big part of the high school experience. “The future of education is based on these types of ideas where we engage students differently, we look at them less as a recipient of knowledge than as an integral part of the learning process,” he says.

That’s welcome news at Revere High, where teachers warmly embraced Garcia’s laser focus on student and teacher needs. According to June Krinsky-Rudder, who has taught art at Revere for 17 years, Garcia would approve art projects that she admits sounded a little “crazy.” After a tornado hit the area in the summer of 2014, she assigned her students to create installations based on their impressions of the tornado. Some of the nine works were big and bold, such as a sculpture of a person breaking through glass and one of junk hanging from a tree.

Not only did Garcia let her put on an art show, he personally called parents to ask them to attend — using whatever language he needed to communicate with them.

Garcia is thrilled to have the opportunity to bring this kind of attention to detail to administrators across the district — with the hope that it will trickle down to students, ultimately keeping them at the center of everything he does.

THE EVENS on my IG

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THE EVENS (Amy Farina & Ian MacKaye) playing at the bandshell by the East River on the Lower East side of Manhattan, New York City. Made this photograph about ten years ago is my guess. Great band great songs. Do yourself the favor if you've never hear of them go give'm a listen (they've got several albums). I like to call what they do "grown-up punk" and i love them. This photo also appears in the MY RULES book pretty huge over a page and a half... #inspiration #integrity #ianmackaye #theEvens #punk #grownUp #adult #love #dischordrecords #theWarmers #fugazi #minorThreat #embrace #badass #barritoneGuitar #getEvens #love #truth #word #wisdom #MyRules

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Feb 16, 2016 at 6:00pm PST

MC5 for the FUCK YEAH FRIDAY Incredible rare great live film footage

from Dangerous Minds:

This year marks the 50th anniversary of the recording of MC5’s seminal live/debut album, Kick out the Jams. To celebrate, guitarist Wayne Kramer has hit the road with an all-star band, playing the entire record plus other MC5 classics. There’s also the imminent release of a very cool vinyl boxed set of the MC5’s three LPs—but more on that in a moment.

1972 would prove to be the final year for the MC5, but early in the year they were still actively promoting their recently released third album, High Time. An overseas tour, with concerts in England and France, was booked for February-March. Bassist Michael Davis, traveling separately from the group, missed his flight to England, causing him to a be a no-show for a major gig in London. The MC5 played a few subsequent dates, before Davis left the band. One of the last concerts performed by the original lineup took place on February 11th at Friars, a club in Aylesbury.

Footage shot at this gig has been uploaded to Wayne Kramer’s YouTube channel. The two clips—which have been restored and look/sound fantastic—reveal that, even as the group was reaching the end of the line, some of that ol’ ‘5 magic was still there.



The new MC5 vinyl box, Total Assault: 50th Anniversary Collection, comes out on September 21st. The Rhino Records set includes the three albums the MC5 released: Kick out the Jams (1969), Back in the USA (1970), and High Time (1971). All three are pressed on colored vinyl, and feature faithful reproductions of the original artwork. The box also will include previously unreleased photos. Pre-order yours here.




In their kitchen Photo: Leni Sinclair. ...

CHUCK DUKOWSKI of BLACK FLAG circa 1982 on my IG

CHUCK DUKOWSKI (the heart and soul) of BLACK FLAG playing at the backstage of some theater around august 1982 is my best estimate. It was a weird venue that i can't remember the name of. The show was fucking incredible, when Black Flag was a five piece and Chuck Biscuits was drumming (Henry vox, Duke bass, Dez rhythm guitar, and Ginn lead guitar)... A peak time for Black Flag in my mind... This shirt Chuck is wearing was new and about as hard core as you could get at the time (the Raymond Pettibone, Police Story flyer).. This photograph is pretty rare, but several from this evening have been published over the years (including in my original MY RULES photozine) and the best of them in the MY RULES book... The book is huge, 324 pages, 13wide x 11.5tall, weighs in at almost 8 pounds, indeed a heavyweight. The best of my books FUCK YOU HEROES and FUCK YOU TOO + about 30% more you've never seen, all bigger and better than ever! Then there's the essays from 22 of my incredible subjects on what inspired them to get to that point in time when i worked with them. INSPIRING! #BlackFlag #ChuckDukowski #FLAG #integrity #hardcorePunk #hardcoreCalifornia #BASS #Pettibone #PoliceStory #RaymondPettibone #WhatISee #DAMAGED #NoMore #photography #lovewhatyoudo #LearningNeverStops #inspiration #punk #punkrock #rebels #FuckYouHeroes #skateboarding #hiphop #politics #DogTown #GoldenEra #intense #GetTheNewBook From you local bookstore or if you can't get it there, get it online, you won't be disappointed. And if you already got it, spread the inspiration!

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Feb 4, 2016 at 1:54pm PST

Beastie Boys and Public Enemy from my IG

I don't have to tell you who this is do I? This photograph is of Public Enemy back stage with Beastie Boys at the Capitol Theater in Passaic, New Jersey, i believe it was the first stop in the "License To Ill" tour, and Public Enemy's first concert gig ever, opening for the Beasties. By the wood paneling i can tell its the same room that the ill fated home video last scene was shot in, probably one of the Beasties all time most embarrassing moments caught on video. But here with the new group on the block Public Enemy. #Hurricane #AdRock #MCA #MikeD #Flavor #chuckD #TerminatorX #DefJam #ExtraStrengthPosse #classichiphop #goldenage #TimeToGetIll #itsthenewstyle #respect #YoBumRushTheShow #PublicEnemy #TimeBomb

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Feb 1, 2016 at 9:14pm PST

T.S.O.L (True Sounds of Liberty) from my instagram

This is a very rare photograph of mine of the band T.S.O.L. playing at the Hollywood Palladium headlining the "Youth Movement '82" show put on by the BYO... Now they may not look tough but go do your internet research on Jack Grisham and Vicious Circle (their earlier incarnation), these were some bad ass morherfuckers, and TSOL's first 12" EP is an All Time Classic... Jack ran for Governor of California a few years back, interesting stories to find there too... These guys came from the infamous Huntington Beach area of Orange County in Southern California, and were probably a big part of why HB got the reputation it did. I did the band photos for their first full album. And got a great skate photo of Ron the guitar player doing a one-wheeler in a backyard pool, i'll post that sooner or later depending on the reaction to this mediocre image... #TrueSoundsOfLiberty #TSOL #HuntingtonBeach #HB #abolishgovernment #frontierrecords #WWlll #JackGrisham #punk #hardcoreCalifornia #punkrock #OC #toddbarnes #mikeroach #ronEmory

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Feb 1, 2016 at 3:42pm PST

Black Flag playing a garage party On my IG

BLACK FLAG (spring 1983) This rare photograph was never seen until the MY RULES book. Black Flag playing a garage party on a Saturday afternoon in West Los Angeles at my request, in order to get as many SUICIDALs together at one time, admission was you needed to be wearing your ST hand drawn shirt to get in the back yard (unless you came w/BLACK FLAG) all so i could photograph as many of their shirts as possible for the forthcoming debut SUICIDAL TENDENCIES album cover. I produced the album, shot all the photos, designed the whole shit and even managed the band for a while, til i quit... This was an incredible gig, BLACK FLAG were incredible, and in fact it was Dezo's last time playing in the original band. There's some video you can find on line if you don't believe me, shot by Al Flipside. #DOPE #punkrock #HeavyBeyondWords and I can't front, when the Suicidal's played after Black Flag, they couldn't even get through a full song before shit was knocked down, and had to keep starting over and over, it was wild... #garageband #garageparty @SuicidalTendencies #HenryRollins #DezCadena #ChuckDukowski #GregGinn #billstevenson - And contrary to popular belief, this was not Mike Muir's garage, but in fact it was the garage of the grandmother of one of ST's roadies Albert. #DIY #KeepItReal #OldSchool #Westside #PUNK Did i forget to mention this photo appears as a full 13" wide page in the MY RULES book? #MyRules #GetTheNewBook P.S. I was using my trusty PENTAX with the 17mm fisheye and the double flash bracket contraption i built to make this photograph.

A post shared by glen E. friedman Ⓥ (@glenefriedman) on Jan 30, 2016 at 3:38pm PST

‘A NEW PARADIGM FOR FEMALES’: THE SLITS SMASHED EXPECTATIONS AND HAD FUN DOING IT (a Dangerous Minds premiere)

from Dangerous Minds:


Formed in 1976, the Slits were one of the earliest all-female punk bands—if not the first. The fantastic, feature-length documentary on the group, Here to Be Heard: The Story of the Slits, was recently released in theatres. It’s about to come out on DVD, and we’re happy to say we have our favorite segment from the doc to share with you.



Here to Be Heard combines archival clips with new interviews of the surviving band members and notable admirers to tell the story of the Slits. The segment that’s getting its web premiere here features exciting early live footage and a spunky band interview excerpt. There’s also a look at how the Slits was covered in the media, and the ways Londoners reacted to a group of females who were smashing societal expectations on how young women presented themselves. As punk journalist Vivien Goldman puts it, “They were provocative, they were outrageous, but also they were having fun,” and doing it all on their own terms.



July 6 is the date Here to Be Heard: The Story of the Slits will be released on DVD, which will include 20 minutes of bonus content. Pre-order your copy through MVD or get it on Amazon.

Chuck Dukowski - BLACK FLAG very rare photograph on my instagram feed

CHUCK DUKOWSKI of BLACK FLAG at practice somewhere in the SouthBay section of Los Angeles, early 1982. I was lucky enough to have sat in on practice with Black Flag many times, even made photos a few times. Now ordinarily one would think at practice what are you gonna shoot some corny portraits? or half ass playing tuning? and writing? FUCK NO ... BLACK FLAG WERE BRINGING IT! Like their lives depended on it! 6-8 hour days of practice, often, their practice could be more intense than a gig!! so eventually i decided to bring my camera a few times. This practice was especially intense, i shot an amazing roll of film here or maybe even two, made some incredible photographs including the iconic image of Henry that was used on the cover of SPRAY PAINT THE WALLS (The Story of Black Flag) as well as classics of Greg and another of Chuck with that crazy mustache, when the head of his base smashed the flash off the top of my camera. They were my favorite band of the era and Dukowski was the heart and soul of that band to me. A real badass. Intelligent. A few weeks ago when i was out in L.A. for the Skateboarding Hall of Fame event, i took an afternoon to visit Chuck and his wife Lora down in Venice, i ended up hanging out for like 7 hours! Great people, never enough of them, I’m stoked to have such good friends around the world (or at least the parts of it I’ve visited). #PunkRock #inspiration #Integrity #TheDuke #Dukowski #BASS #PunkRockChangedOurLives #WhatISee #NoMore #PaddedCell #HardcorePunk #TheMan #Legendary #Flag (totally worth seeing) also if you look close there’s an ACTION NOW sticker on the bass head there 😉 #MyRules get the book hear the song... everything through the recording of the DAMAGED album is what i am referring to when i discuss their greatness and inspiration to ME (save a few songs) GO LISTEN TO THAT STUFF AND STOP FLIPPING THROUGH INSTAGRAM 👊🏽

A post shared by glen E. friedman Ⓥ (@glenefriedman) on May 18, 2018 at 2:41pm PDT

Art, Flyers and Comics of Shawn Kerri

from Dangerous Minds:

“I’ve never gotten the same thrill out of having one of my cartoons printed in a magazine as much as seeing one of my old fliers — something I did for a punk gig the week before — laying in the gutter. Seeing it all mashed and dirty thrilled me, because that was how I was living, too. It looked exactly like my life.”

—artist Shawn Kerri

Artist Shawn Kerri (Shawn Maureen Fitzgerald) spent most of her life growing up near San Diego before taking off to make a name for herself in Los Angeles. Kerri was just nineteen when she showed up at the office of CARtoons magazine looking for work and quickly became one of the magazine’s only female illustrators for much of its entire run. A huge fan of hot automobiles herself, Kerri drove a badass 1957 Chevrolet Bel Air around LA hitting up shows and soaking in the city at every stop. Swept up in the furor of late 70s and early 80s southern California punk, Kerri’s artwork quickly became a favorite of bands like Circle Jerks, T.S.O.L., the Germs and others which were used for show flyers, posters, and album art. Perhaps her most intrinsic contribution to the punk scene is the “Skank Kid,”(as originally drawn and named by Kerri), the high-stepping hardcore mascot of the Circle Jerks since the early 1980s. You know, this guy:

Early on in her career, Kerri worked along with her then-boyfriend, another notable illustrator entrenched in the punk scene, Marc Rude, an artist some consider to be one of the fathers of underground punk art. They would collaborate on a zine called Rude Situation but would part ways. Kerri would go on to score work in tons of publications such as Cracked, adult magazines like Hustler, Chic, and Gentleman’s Companion—as well as underground comix and zines like Cocaine Comix, Commies from Mars and Flipside. During her active time as an artist, she was wildly prolific, though not as well known as her peers like Rude, Pushead and fellow SoCal legend Raymond Pettibon. Perhaps it was because Kerri didn’t care to engage in copyright disputes. Such a situation presented itself in 1986 when the agent and record label for one of Kerri’s favorite bands, Circle Jerks, took it upon themselves to claim ownership of the Skank Kid image. Instead of engaging in a long and expensive legal fight, she allegedly signed over the rights to her image to Circle Jerks vocalist Keith Morris.

Another compelling piece of Kerri’s story are the rumors concerning her death sometime in the 1990s—which have been disputed by many claiming to know otherwise. According to this article, Kerri died shortly before her 40th birthday after falling down the stairs at her mother’s home in San Diego. And this is where we swing back to Kerri’s former boyfriend Marc Rude for what is likely the correct version of what happened to her. According to an article via Maximum Rock N Roll, Carl Schneider, the filmmaker behind the 2014 documentary on Marc Rude, Mad Marc Rude: Blood, Ink & Needles, paid a visit to Kerri at her mother’s home sometime in 2004 and confirmed the artist was still very much alive but in rather poor health. For what it is worth, Kerri’s Wiki page does not note she has passed, listing only the year of her birth which is 1958. Whatever the case, it would be my hope the talented, passionate punk is loved and staying strong somewhere in sunny SoCal. I know Kerri’s dedicated fan-base would love to know more about her current status, as would I.

I’ve posted images of Kerri’s work below as well as a few images of her adult-oriented work published using the name Dee Lawdid. Some are NSFW. Skank or die!

go to the original article on DM for the entire piece with more of Shawns art:HERE