A Quote by Ian MacKaye

The American underground punk scene, though, is a story worth remembering. — © Ian MacKaye
The American underground punk scene, though, is a story worth remembering.
I'm not talking about what came later [after the American underground punk scene], indie music, or whatever you want to call it, but the music that came before that - that's an important story. So many interviews with musicians get the time or context wrong. You have these older bands, usually men, who tell stories about "Oh, we got into this huge fight, this guy punched that guy," that's the wrong sort of story. My view of the time is truly pioneering.
I was part of punk's second generation, so, not the first wave of '70s punk, but the American hardcore scene. I had a really strong love for music prior to that, but punk created a new template.
The emergence of the independent hip-hop scene has replaced what we called the "underground scene". It's what the underground scene has evolved into: actual businesses.
I guess, for me, what started me getting real excited about music was the New York punk and new-wave scene. All those bands looked back to the Velvet Underground and the Stooges and the Modern Lovers as well. But that was back when Television were punk, and the Talking Heads were punk.
My sense of politics and justice was deeply shaped in adolescence by my involvement with the underground punk - rock scene, and though lots of social and political issues had come forth in my comics, it wasn't until my late 20s that I felt properly equipped to address certain issues of race, power, and violence in my work.
The forward march of American literature is usually chronicled by way of its male novelists. There is little sense, in that version of the story, that women writers of those eras were doing much worth remembering.
The story of the Underground Railroad is the story of American heroes, and who doesn't want to hear a story about American heroes?
I was fortunate enough to be living in Hollywood, CA, when the underground punk rock music scene started. It was a small group of artists, misfits and weirdos, where everyone was welcomed and encouraged to express themselves.
My parents didn't really restrict my movement, so I got involved in the underground music scene and the activism scene; I was doing some volunteering in food relief. I spent a lot of time throughout the city in poor areas, even though my family lived in a wealthy area.
I think English punk died in '79 or '80. Maybe '82 at the latest. As far as American punk goes, it wasn't the same as English punk. It wasn't a working-class movement that was protesting the conditions under which this class had to work. I don't think American punk ever died.
We were at the dark end of the L.A. punk scene, and that scene was full-on and violent and aggressive and wild and intense.
I did the underground scene growing up. I lived in Albany, New York so I'd go see Stigmata, Hatebreed, Murphy's Law so I was in that whole scene.
I had to get a driver's license and drive to St. Louis to find the punk-rock scene that was happening there. And there was a punk-rock scene. It was sweet. It was real. It was like everywhere else in the county. It was a handful of people who were feeling the same pull, and, of course, it was like the Island of Misfit Toys in Rudolph the Red-Nosed Reindeer [1964]. Just the freaks, the fags, the fat girls, the unbelievable eccentrics .
The underground scene is still a cool way to meet a lot of cool people, see a lot of interesting bands and get a lot of food for thought, but people have to remain curious and get their brain activity food from other places besides punk.
I started buying vinyl records when I got into punk music because, in the punk scene in New Jersey, vinyl was more like a necessity than a luxury.
You always have to know what the ambition of the scene is, what the purpose of that scene is in the telling of the story overall, so that you're there to support the story.
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