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How to Forget (and Remember) ‘The Greatest Punk Rock Band in the World’: Bad Brains, Hardcore Punk and Black Popular Culture

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Youth Culture and Social Change

Abstract

In this chapter, we examine the memory of the hardcore punk band Bad Brains in relation to its importance to punks of colour. By analysing documentaries, books, zines and interviews, we argue that recent excavations represent George Lipsitz’s understanding of ‘counter-memory’. According to Lipsitz, groups like women and African-Americans have been ignored in dominant narratives of history. In order to defy such universalising forces that obliterate the traces of subordinate groups’ histories, such marginalised groups focus on their localised experiences and engage in a form of remembering that reconstructs history to re-incorporate into collective memory that which was previously obscured. By reassessing common understandings of hardcore punk, new avenues of possibility emerge, especially for punks of colour.

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Notes

  1. 1.

    The title of this chapter refers to the first gig poster for Bad Brains, which billed them as ‘the greatest punk rock band in the world’. See D. Jenifer, ‘Play like a white boy: Hard dancing in the city of chocolate’, in S. Duncombe and M. Tremblay (eds.), White Riot: Punk Rock and the Politics of Race (London, 2011), p. 210 (Jenifer 2011).

  2. 2.

    M. Andersen and M. Jenkins, Dance of Days: Two Decades of Punk in the Nation’s Capital (New York, 2009), pp. 40–41 (Andersen and Jenkins 2009).

  3. 3.

    American Hardcore: The History of American Punk Rock 1980–86, directed by Paul Rachman (AHC Productions, 2006) DVD.

  4. 4.

    S. Blush, American Hardcore: A Tribal History (Los Angeles, 2001), p. 72 (Blush 2001).

  5. 5.

    T. White, ‘The importance of being a Ramone’, Rolling Stone, 8 February 1979, http://www.rollingstone.com/music/news/the-importance-of-being-a-ramone-19790208?page=5 [accessed 3 March 2017] (White 1979).

  6. 6.

    M. Board, Maximumrocknroll Magazine, Issue 34, 1986. Quoted in S. Maskell, ‘Performing punk: Bad Brains and the construction of identity’, Journal of Popular Music Studies, 21(4) (2009), 413 (Maskell 2009).

  7. 7.

    C. Brinkhurst-Cuff, ‘Why is the history of punk music so white?: True punk rebellion has always existed in black culture, and continues to exist today’, Dazed, November 2015, http://www.dazeddigital.com/music/article/28372/1/why-is-the-history-of-punk-music-so-white [accessed 3 March 2017] (Brinkhurst-Cuff 2015).

  8. 8.

    Interview with Scott Ian, quoted in G. Prato, Punk! Hardcore! Reggae! PMA! Bad Brains! (Create Space Independent Publishing Platform, 2014), p. 36 (Prato 2014).

  9. 9.

    G. Lipsitz, Time Passages: Collective Memory and American Popular Culture (Minneapolis, 2001), p. 212 (Lipsitz 2001).

  10. 10.

    M. K. Wiedlack, ‘“We’re punk as fuck and fuck like punks”: Queer–feminist Counter-cultures, Punk Music and the Anti-social Turn in Queer Theory’ (Unpublished DPhil. dissertation, Universitat Wien, 2013), p. 208 (Wiedlack 2013).

  11. 11.

    J. Cowie, Stayin’ Alive: The 1970s and the Last Days of the Working Class (New York, 2010), p. 325 (Cowie 2010). See also: B. Osgerby, ‘“Chewing out a rhythm on my bubble gum”: The teenage aesthetic and genealogies of American punk’, in R. Sabin (ed.), Punk Rock: So What?: The Cultural Legacy of Punk (London, 2009), pp. 154–69 (Osgerby 2009).

  12. 12.

    S. Taylor, False Prophet: Fieldnotes from the Punk Underground (Middletown, 2003), p. 54 (Taylor 2003).

  13. 13.

    Blush, American Hardcore, 116.

  14. 14.

    R. Moore, Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis (New York, 2010) (Moore 2010).

  15. 15.

    Although referring to British punk, Simonelli refers to punk as ‘the white version of Rastafarian ideology’, thereby, reaffirming punk as ‘White’ music. D. Simonelli, ‘Anarchy, pop, and violence: Punk rock subculture and the rhetoric of class’, Contemporary British History, 16(2) (Summer 2002), 121–44 (Simonelli 2002).

  16. 16.

    Ike Willis, Interview by Andy Holliden, 11 November 2009, ‘Reclaiming the right to rock collection’, Archives of African American Music and Culture, Indiana University Media Collections Online.

  17. 17.

    D. Hebdige, Subculture: The Meaning of Style (London, 1979), p. 68 (Hebdige 1979).

  18. 18.

    P. Gilroy, There Ain’t No Black in the Union Jack (London, 1987), p. 163 (Gilroy 1987).

  19. 19.

    E. Stinson, ‘Means of detection: A critical archiving of black feminism and punk performance’, Women & Performance: A Journal of Feminist Theory, 22 (2–3) (2012), pp. 284–5 (Stinson 2012).

  20. 20.

    R. Sabin, ‘“I won’t let that dago by”: Rethinking punk and racism’, in Duncombe and Tremblay (eds.), White Riot, pp. 57–68.

  21. 21.

    D. Traber, ‘L.A.’s ‘white minority’: Punk and the contradictions of self-marginalization’, Cultural Critique, 48 (2001), 49 (Traber 2001).

  22. 22.

    S. Hall, ‘What is “black” in black popular culture?’, in J. Storey (ed.), Cultural Theory and Popular Culture: A Reader (Harlow, 2009), p. 380 (Hall 2009).

  23. 23.

    For an exploration of race as a social construct in the United States, see: M. Omi and H. Winant, Racial Formation in the United States (New York, 2015) (Omi and Winant 2015).

  24. 24.

    P. Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cambridge, 1994), pp. 100–1 (Gilroy 1994).

  25. 25.

    A. McRobbie, Feminism and Youth Culture: From ‘Jackie’ to ‘Just Seventeen’ (Boston, 1991) (McRobbie 1991).

  26. 26.

    P. Hill Collins, ‘It’s all in the family: Intersections of gender, race, and nation’, Hypatia, 13(3) (1998), 62–82 (Hill Collins 1998).

  27. 27.

    Duncombe and Tremblay, White Riot.

  28. 28.

    Maskell, ‘Performing punk’, 411–26.

  29. 29.

    Interview with Darryl Jenifer in Dave Maher, ‘Bad Brains interview’, Pitchfork.com, 29 October 2015, http://pitchfork.com/features/interview/6663-bad-brains/ [accessed 3 March 2017].

  30. 30.

    D. Massey and N. A. Denton, American Apartheid: Segregation and the Making of the Underclass (Cambridge, 1993), p. 45 (Massey 1993).

  31. 31.

    N. Hopkinson, Go-Go Live: The Musical Life and Death of a Chocolate City (Durham, 2012) (Hopkinson 2012).

  32. 32.

    Ibid.

  33. 33.

    Massey and Denton, American Apartheid, p. 70.

  34. 34.

    G. Tate, ‘Hardcore of darkness: Bad Brains’, in Duncombe and Tremblay (eds.), White Riot, p. 214.

  35. 35.

    Hopkinson, Go-Go Live, p. 146.

  36. 36.

    ‘Darryl Jenifer of Bad Brains: “I want to be the soldier of my music”’, Ultimate-Guitar.com (2007): https://www.ultimate-guitar.com/news/interviews/darryl_jenifer_of_bad_brains_i_want_to_be_the_soldier_of_my_music.html?no_takeover [accessed 3 March 2017].

  37. 37.

    Andersen and Jenkins, Dance of Days, pp. 27–9.

  38. 38.

    K. Grow, ‘Hardcore mettle: Bad Brains’ strange survival tale’, Spin (29 November 2012): http://www.spin.com/2012/11/bad-brains-strange-survival-tale/2/ [accessed 3 March 2017] (Grow 2012).

  39. 39.

    Maskell, ‘Performing punk’, p. 414.

  40. 40.

    N. Crossley, Networks, Sound, Style, and Subversion: The Punk and Post-Punk Worlds of Manchester, London, Liverpool, and Sheffield, 1975–80 (Manchester, 2015), p. 36 (Crossley 2015).

  41. 41.

    Maskell, ‘Performing punk’, 415.

  42. 42.

    Bad Brains: A Band in D.C., directed by Mandy Stein and Ben Logan (Plain Jane Productions, 2012).

  43. 43.

    Tate, ‘Hardcore of darkness’, p. 214.

  44. 44.

    Blush, American Hardcore.

  45. 45.

    E. Davis, ‘The last apostles’, The Voice, 10 October 1989, DC Punk Archive/Mark Andersen Collection, Martin Luther King Jr. Memorial Library, Washington, DC.

  46. 46.

    Blush, American Hardcore, p. 117.

  47. 47.

    Wiedlack, ‘We are punk as fuck’, p. 222.

  48. 48.

    Andersen, Dance of Days, p. 37.

  49. 49.

    G. Prato, Punk! Hardcore! Reggae!, p. 9.

  50. 50.

    T. A. Lee. ‘From Bad Brains to afro-punk: An analysis of identity, consciousness, and liberation through punk rock from 1977–2010’ (Unpublished MA thesis, Cornell University, 2010), p. 18 (Lee 2010).

  51. 51.

    Gilroy, There Ain’t No Black in the Union Jack, p. 205.

  52. 52.

    Gilroy, The Black Atlantic, p. 7.

  53. 53.

    D. Howland, ‘Bad Brains’, Trouser Press Magazine, 1983.

  54. 54.

    L. Perkins, Hard Art: DC 1979 (New York, 2013), p. 13 (Perkins 2013).

  55. 55.

    Blush, American Hardcore, p. 124.

  56. 56.

    Interview with Bad Brains in Now What? No. 0, 1981, Series 1, Box 1, Folder 98, D.C. Punk and Indie Fanzine Collection, Michelle Smith Performing Arts Library, University of Maryland, College Park, MD.

  57. 57.

    ‘Review Bad Brains – LP Length Cassette (ROIR)’, Damaged Goods, 2 (8) (February 1982), Series 2, Box 4, Folder 34. D.C. Punk and Indie Fanzine Collection, Michelle Smith Performing Arts Library, University of Maryland, College Park, MD.

  58. 58.

    Blush, American Hardcore, p. 122.

  59. 59.

    Interview with Aaron Thompson by Tara Martin Lopez, 18 April 2016.

  60. 60.

    Interview with Don Letts in Bad Brains: A Band in DC Hulu (Web), 29 October 2015.

  61. 61.

    PUNK: Attitude, directed by Don Letts (3DD Productions, 2005).

  62. 62.

    L. Bakare, ‘From Bad Brains to Cerebral Ballzy: Why hardcore will never die’, The Guardian (20 November 2014): https://www.theguardian.com/music/2014/nov/20/hardcore-music-hard-fast-us-punk-rock [accessed 3 March 2017] (Bakare 2014).

  63. 63.

    Andersen and Jenkins, Dance of Days, p. 34.

  64. 64.

    J. Porter and J. Austen, ‘Black punk time, blacks in punk, new wave, and hardcore, 1976–1983’, Roctober, 32 (2002), 43 (Great Lakes Underground Press Collection, Box 6, Special Collections and Archives, DePaul University, Chicago, IL) (Porter and Austen 2002).

  65. 65.

    Interview with Henry Rollins in Bad Brains: A Band in D.C.

  66. 66.

    Andersen and Jenkins, Dance of Days, p. 37.

  67. 67.

    Perkins, Hard Art: DC 1979; C. Connolly, L. Clague and S. Cheslow, Banned in D.C.: Photos and Anecdotes from the DC Punk Underground, 79–85 (Washington, 2013) features not only many of Lucian Perkins’ photos of Bad Brains, but the title of the book is a direct reference to Bad Brains’ ‘Banned In D.C.’ (Connolly 2013).

  68. 68.

    Duncombe and Tremblay, White Riot, p. 206.

  69. 69.

    Prato, Punk! Hardcore! Reggae!

  70. 70.

    Lipsitz, Time Passages, pp. 212–213.

  71. 71.

    T. Fierce, ‘Black invisibility and racism in punk rock’, Bitchcore 1999, in Duncombe and Tremblay, White Riot, p. 283.

  72. 72.

    O. Atoe, ‘Shotgun seamstress’, 1 August 2006 in Shotgun Seamstress: Zine Collection, A Zine By and For Black Punks (Tacoma, 2012), p. 21.

  73. 73.

    Y. Thecato, Slash They Ass Up: A Black Punk Manifesto (Chicago, 2013) (Thecato 2013).

  74. 74.

    Interview with Angelo Moore in Michael Gonzalez, ‘Afropunk before afropunk’, Ebony (29 August 2014): http://www.ebony.com/entertainment-culture/afropunk-before-afropunk-232#axzz430seTBES [accessed 3 March 2017].

  75. 75.

    Quoted in Wiedlack, ‘We are punk as fuck’, p. 223.

  76. 76.

    Tasha Hairston, interview by Tara Martin Lopez, 13 May 2016.

  77. 77.

    Hill Collins, ‘It’s all in the family’.

  78. 78.

    Afro-Punk, directed by James Spooner (Afro-Punk, 2003).

  79. 79.

    J. Spooner, ‘Foreword’, in Duncombe and Tremblay, White Riot, p. xiii.

  80. 80.

    Ibid, p. xvi.

  81. 81.

    Onome, ‘Filmmaker James Spooner goes in-depth with afro-punk: The “rock ‘n’ roll nigger” experience’, A Gathering of Tribes (31 October 2006): http://www.tribes.org/web/2006/10/31/filmmaker-james-spooner-goes-in-depth-with-afro-punk-the-rock-n-roll-nigger-experience [accessed 3 March 2017].

  82. 82.

    Afro-Punk.

  83. 83.

    Ibid.

  84. 84.

    Lipsitz, Time Passages, p. 213.

  85. 85.

    J. Logan and B. Stults, The Persistence of Segregation in the Metropolis: New Findings from the 2010 Census, 24 March 2011: http://www.s4.brown.edu/us2010/Data/Report/report2.pdf [accessed 3 March 2017] (Logan and Stults 2011).

  86. 86.

    ‘Quick facts – District of Columbia’, U.S. Census Bureau 2015. https://www.census.gov/quickfacts/table/PST045215/11 [accessed 3 March 2017].

  87. 87.

    Ta-Nehisi Coates, Between the World and Me (New York, 2015), pp. 52–3 (Coates 2015).

  88. 88.

    ‘Celebrity net worth: Ian MacKaye net worth’, http://www.celebritynetworth.com/richest-celebrities/singers/ian-mackaye-net-worth-2/ [accessed 3 March 2017].

  89. 89.

    ‘Celebrity net worth: Henry Rollins net worth’, http://www.celebritynetworth.com/richest-celebrities/henry-rollins-net-worth/ [accessed 3 March 2017].

  90. 90.

    M. Cohen, ‘Bad Brains raising funds to help support Dr. Know after his near-death illness’, Washington City Paper (10 March 2016): http://www.washingtoncitypaper.com/blogs/artsdesk/music/2016/03/10/after-nearly-dying-bad-brains-raising-funds-to-help-support-dr-know/ [accessed 3 March 2017] (Cohen 2016).

  91. 91.

    bell hooks, ‘Postmodern blackness’, in J. Storey (ed.), Cultural Theory and Popular Culture: A Reader (Harlow, 2009), p. 392 (hooks 2009).

  92. 92.

    Lipsitz, Time Passages, p. 231.

  93. 93.

    Mahr, ‘Bad Brains interview.’

  94. 94.

    C. Richards, ‘This is hardcore: A new generation is making Washington’s punk dialect its own – while It can’, The Washington Post (12 May 2016): http://www.washingtonpost.com/sf/style/2016/05/12/how-d-c-hardcore-is-being-revitalized-by-a-new-generation-of-bands/ [accessed 3 March 2017] (Richards 2016).

  95. 95.

    Interview with Angelo Moore, Afro-Punk.

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Authors and Affiliations

  1. Department of Sociology, Peninsula College, Port Angeles, WA, USA

    Tara Martin Lopez

  2. Department of English, Peninsula College, Port Angeles, WA, USA

    Michael Mills

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  1. University of Wolverhampton , Wolverhampton, United Kingdom

    Keith Gildart

  2. University of Roehampton, London, United Kingdom

    Anna Gough-Yates

  3. Liverpool John Moores University, Liverpool, United Kingdom

    Sian Lincoln

  4. London Metropolitan University , LONDON, United Kingdom

    Bill Osgerby

  5. University of Sussex, Brighton, United Kingdom

    Lucy Robinson

  6. University of East Anglia, Norwich, United Kingdom

    John Street

  7. University of the West of England, Bristol, United Kingdom

    Peter Webb

  8. University of Reading, Reading, United Kingdom

    Matthew Worley

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Lopez, T.M., Mills, M. (2017). How to Forget (and Remember) ‘The Greatest Punk Rock Band in the World’: Bad Brains, Hardcore Punk and Black Popular Culture. In: Gildart, K., et al. Youth Culture and Social Change. Palgrave Studies in the History of Subcultures and Popular Music. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-52911-4_8

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