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BLACK FLAG: A 12-Step Program in Self-Reliance
A 12-Step Program in Self-Reliance
How L.A.’s hardcore pioneers BLACK FLAG made it through their early years
by Jay Babcock
Originally published in the June 28, 2001 LAWeekly
By midsummer 1981, when the then-unknown, now-notorious Henry Rollins joined Black Flag as its fourth singer, the South Bay–based punk band had already tasted some extremely hard-earned success. Despite a set of severe hurdles — from an initial difficulty in getting local club gigs and a record deal to sensational “punk violence!” coverage by the news media and constant harassment of both the band and its fans by police — Black Flag had managed to self-release three EPs, tour North America several times, and grow from playing to a couple of dozen people at a San Fernando Valley coffeehouse to headlining shows at the Santa Monica Civic and Olympic Auditorium.
Black Flag accomplished this by developing a do-it-yourself work and business ethic which, although common in jazz, rhythm & blues and folk circles for decades, was almost unique for American rock bands at the time. It was an ethic that was hugely effective, and one that would prove hugely influential over the next two decades.
But what’s ironic about the band’s current historical status as one of American punk rock’s original DIY pioneers — “They may well be the band that made the biggest difference,” says no less an authority than Fugazi’s Ian MacKaye — is that Black Flag’s original aspirations had nothing to do with building an alternate model to the existing music industry.
“The beginning and end of it was always working on the music,” says Black Flag founder, guitarist and chief songwriter Greg Ginn today. “The other stuff was very much at the periphery.”
As they tell it now, Ginn & Co. would have been quite content to let someone else handle the mundane trivialities of being recording artists and performers: the nuts and bolts of producing and releasing records, doing publicity and marketing, booking tours, handling legal matters, lugging equipment, etc. Black Flag would play while others would work. But the music industry, broadly speaking, wasn’t interested in Black Flag—so Black Flag had to figure out, almost on their own, how to get their music heard. This is how they did it, in their own words:Continue reading