Title
Fugazi Regards its Concerts as Chats with Audience
Subject
Fugazi's punk rock shows
Description
This article writes to how the band Fugazi and other bands in the DC punk rock movement view their audience and the way in which music can deliver a message to the masses. This is a big part of how that particular movement reached people and got young people involved in political and social change in DC.
Creator
R. Parisien
Source
The Ottowa Review
Publisher
Infomart
Date
August 1, 1991
Contributor
[no text]
Rights
Copyright The Ottawa Citizen
Relation
[no text]
Format
[no text]
Language
[no text]
Type
Show Review
Identifier
[no text]
Coverage
[no text]
Original Format
[no text]
Text
Fugazi was the slang term used by Vietnam soldiers to designate ``a situation gone out of control'' (O.K., they used stronger language than that to define it). For the Washington, D.C. band of the same name, the term appropriately reflects a perspective on the world.
Fugazi, which performs at Barrymore's Saturday night, creates positive, thought-provoking lyrics set to music that careens wildly from dissonant punk to rhythmic funk, often with a catchy pop edge that combines the danceable with the experimental.
The group practically self-defines the concept of an alternative music band, placing music, audience and fierce ideals above all else.
''Our only objective is to be a band,'' says guitarist-vocalist Ian MacKaye, ``and to play music how we want to, when we want to, where we want to.''
The group refuses to deal with music industry management, booking agencies, or major labels. It operates its own independent record company, Dischord Records. Fugazi only plays shows to which all ages are admitted, and refuses to perform if the cover charge is more than $6.
``I know it's ironic, but because I despise the record business so much, I've totally immersed myself in it,'' says MacKaye. ``It's such a gross business, but if we do everything ourselves, at least we're always aware of what's going on.''
The firm standards mean that the band can't always make the rounds of standard rock venues. Over the years it has performed in basements and art galleries, an old dairy factory, the stable of a 19th Century fort in Rome and a metal Bunker in Amsterdam.
Yet Fugazi's latest album, Repeater, has sold 125,000 copies around the world _ a large number of those by mail-order from Dischord, ie., MacKaye's basement _ vastly outperforming the majority of independent-type groups who've signed to major labels in recent years. MacKaye has no desire to see Fugazi go the corporate route, and has to regularly turn down offers and advances.
``Just because you're on a major label doesn't mean you're going to sell a lot of records. Besides, we find the promotional thing is very creepy with major labels. It's a business investment for them, and they'll go to any extreme to sell the record. We have strong feelings about not being hyped that way.
``For me its not imperative that everyone in the world sees a Fugazi record in their neighborhood record store. If we can sell the number of records we have by word of mouth, then I think that's important. It shows that it can be done without resorting to the same dehumanizing, ritualistic techniques.''
Fugazi regards its concerts as a two-way conversation with the audience, a successful night requiring a lot of effort from both sides. ``There's a lot of potential for a really powerful experience,'' says MacKaye. ``We never want to be made to feel that we're there purely to entertain people.''
On the flip side of the coin, MacKaye refuses to accept the reputation that he's been saddled with as some kind of moral spokesman for his audience.
``It's like an urban legend, this image that keeps going 'round and 'round,'' says MacKaye. ``We're not some kind of novelty freak-show just because we care about the evening and the people there. And it's not my place to say that we set an example for anyone. We're just a band that tries to take care of things the way we think is right.''
As you might have already suspected, admission for the concert is $6, and all ages will be admitted. Patrons under the age of majority will receive a ``no-alcohol'' stamp. Those under 16 will be admitted if accompanied by an adult. Doors open at 8 p.m. and the opening act is Toronto industrial-metal band Malhavoc.
@bullet-as =
Zaphod Beeblebrox refuses to die. Two weeks ago, the defunct alternative music nightclub held a sold-out boat cruise/reunion party. Now two more Zaphod events have been announced, both hosted by The New Live Penguin, 292 Elgin St.
On Aug. 16, Zaphod's celebrates a Birthday Bash featuring sub-Vegas campsters Electric Chick Volcano, with opening act Jimmy George.
And on Sept. 12, Zaphod's brings in British folk-rock legend Roy Harper. Tickets are $8 advance for the Harper show. They go on sale Friday at area record stores.
On the exciting-news front, the Zaphod partners are in the midst of serious negotiations to lease a new permanent location in the Market area. If the terms are successfully concluded, Beeblebrox should be reborn by December.
Fugazi, which performs at Barrymore's Saturday night, creates positive, thought-provoking lyrics set to music that careens wildly from dissonant punk to rhythmic funk, often with a catchy pop edge that combines the danceable with the experimental.
The group practically self-defines the concept of an alternative music band, placing music, audience and fierce ideals above all else.
''Our only objective is to be a band,'' says guitarist-vocalist Ian MacKaye, ``and to play music how we want to, when we want to, where we want to.''
The group refuses to deal with music industry management, booking agencies, or major labels. It operates its own independent record company, Dischord Records. Fugazi only plays shows to which all ages are admitted, and refuses to perform if the cover charge is more than $6.
``I know it's ironic, but because I despise the record business so much, I've totally immersed myself in it,'' says MacKaye. ``It's such a gross business, but if we do everything ourselves, at least we're always aware of what's going on.''
The firm standards mean that the band can't always make the rounds of standard rock venues. Over the years it has performed in basements and art galleries, an old dairy factory, the stable of a 19th Century fort in Rome and a metal Bunker in Amsterdam.
Yet Fugazi's latest album, Repeater, has sold 125,000 copies around the world _ a large number of those by mail-order from Dischord, ie., MacKaye's basement _ vastly outperforming the majority of independent-type groups who've signed to major labels in recent years. MacKaye has no desire to see Fugazi go the corporate route, and has to regularly turn down offers and advances.
``Just because you're on a major label doesn't mean you're going to sell a lot of records. Besides, we find the promotional thing is very creepy with major labels. It's a business investment for them, and they'll go to any extreme to sell the record. We have strong feelings about not being hyped that way.
``For me its not imperative that everyone in the world sees a Fugazi record in their neighborhood record store. If we can sell the number of records we have by word of mouth, then I think that's important. It shows that it can be done without resorting to the same dehumanizing, ritualistic techniques.''
Fugazi regards its concerts as a two-way conversation with the audience, a successful night requiring a lot of effort from both sides. ``There's a lot of potential for a really powerful experience,'' says MacKaye. ``We never want to be made to feel that we're there purely to entertain people.''
On the flip side of the coin, MacKaye refuses to accept the reputation that he's been saddled with as some kind of moral spokesman for his audience.
``It's like an urban legend, this image that keeps going 'round and 'round,'' says MacKaye. ``We're not some kind of novelty freak-show just because we care about the evening and the people there. And it's not my place to say that we set an example for anyone. We're just a band that tries to take care of things the way we think is right.''
As you might have already suspected, admission for the concert is $6, and all ages will be admitted. Patrons under the age of majority will receive a ``no-alcohol'' stamp. Those under 16 will be admitted if accompanied by an adult. Doors open at 8 p.m. and the opening act is Toronto industrial-metal band Malhavoc.
@bullet-as =
Zaphod Beeblebrox refuses to die. Two weeks ago, the defunct alternative music nightclub held a sold-out boat cruise/reunion party. Now two more Zaphod events have been announced, both hosted by The New Live Penguin, 292 Elgin St.
On Aug. 16, Zaphod's celebrates a Birthday Bash featuring sub-Vegas campsters Electric Chick Volcano, with opening act Jimmy George.
And on Sept. 12, Zaphod's brings in British folk-rock legend Roy Harper. Tickets are $8 advance for the Harper show. They go on sale Friday at area record stores.
On the exciting-news front, the Zaphod partners are in the midst of serious negotiations to lease a new permanent location in the Market area. If the terms are successfully concluded, Beeblebrox should be reborn by December.