Fugazi at the Wilson Center, Washington D.C. on December 29th, 1988.
“I thought punk would fade like disco, and with any luck, be replaced with a musical movement led by artists who could actually play their instruments. But in the ambulance, the maniacal vibrato and caustic quips of Dead Kennedys lead singer Jello Biafra had me gaping.Forever etched in my brain are his Tourettes-like rants about the perils of chemical warfare and the unmitigated cruelty of Cambodian dictator Pol Pot, dueling with the wailing siren as my buddy and I wove through rush-hour traffic.“
Glen E. Friedman got his start in photography shooting images of the legendary Z-boys skating backyard pools. From there he would go on to take some of the most definitive portraits of early hip hop and hardcore punk pioneers including the Beastie Boys, RunDMC and Black Flag and as a result is considered to be one of the most important photographers of his generation.
Just released this past month, Friedman’s new book, Keep Your Eyes Open, chronicles his pictorial relationship with the band Fugazi, possibly one of the most important bands to have ever entered this writer’s eardrums.
Says the website:
“KEEP YOUR EYES OPEN: The Fugazi Photographs of Glen E. Friedman was released by Burning Flags Press exactly 20 years [after Fugazi’s first concert on September 3, 1987]. The 112-page, 9 x11 hardcover book presents the best of Friedman’s unparalleled photographic documentation of Fugazi’s members in almost 200 color and black & white images captured by Friedman onstage and off between 1986 and Fugazi’s last U.S. concert in 2002. As Fugazi’s Ian MacKaye explains, ‘While most photographers were taking photos of Fugazi, Glen was making photos with us.'”
As a final note, while surfing the web on this topic, I also came across this footage of Fugazi performing Turnover outside of the White House in 1991 at a protest against the first Gulf War. Incredible.
We used stars on the first few releases as a background which was Ray‘s idea. He liked how Dangerhouse had black and yellow bars as their background on the labels so he wanted us to have something to identify Rev with like that. We got a Letraset sheet of stars and used it on the first three records we put out. The fourth record was going to be the Gorilla Biscuits 7″ and their friend (who would later join the band as a second guitar player), Alex Brown offered to do the layout for them. Alex took the star concept and put the letter “r” in a star and had the label name under it inside a box. Ray, Alex and Porcell all lived together in Brooklyn at the time so Ray saw the artwork before I did. He really liked the idea and called me to tell me about it. From his description over the phone I re-created it. That was the logo we ended up using because we had already used it on a few things (probably flyers, catalogs and ads). We used it on the GB 7″ and the Side By Side and No For An Answer records and repressings of the Sick Of It All 7″ too. Then we were working with Dave Bett at our main distributor Important on the layout for the New York City Hardcore – The Way It Is compilation and he offered to clean it up for us. He did and that’s basically the logo we’ve been using ever since.