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Rill^ 1980S DC rill^ 1980S DC rii£!St MTEVOLUTIO N AND EVKllMSTINO KFFK Ai\ liXTEiniKM^ WITH GUY PICCIOTTO BY KATni: XESMITII, IiV¥y^l\^ IKWKK IXSTRUCTOU: MR. HiUfiHT FmAL DUE DATE: FEBRUilRY 10, SOOO BANNED IN DC PHOTOS m AHEcoorts FROM THE re POHK UMOEAG ROUND pg-ssi OH t^€^.S^ 2006 EPISCOPAL SCHOOL American Century Oral History Project Interviewee Release Form I, ^-/ i^ji^ I O'nc , hereby give and grant to St. Andrew's (interviewee) Episcopal School llie absolute and unqualified right to the use ofmy oral history memoir conducted by KAi'lL I'i- M\-'I I on / // / 'Y- .1 understand that (student interviewer) (date) the purpose of (his project is to collect audio- and video-taped oral histories of first-hand memories ofa particular period or event in history as part of a classroom project (The American Century Project). 1 understand that these interviews (tapes and transcripts) will be deposited in the Saint Andrew's Episcopal School library and archives for the use by ftiture students, educators and researchers. Responsibility for the creation of derivative works will be at the discretion of the librarian, archivist and/or project coordinator. I also understand that the tapes and transcripts may be used in public presentations including, but not limited to, books, audio or video doe\imcntaries, slide-tape presentations, exhibits, articles, public performance, or presentation on the World Wide Web at t!ic project's web site www.americaiicenturyproject.org or successor technologies. In making this contract I understand that I am sharing with St. Andrew's Episcopal School librai-y and archives all legal title and literary property rights which i have or may be deemed to have in my inten'iew as well as my right, title and interest in any copyright related to this oral history interview which may be secured under the laws now or later in force and effect in the United States of America. This gift, however, does not preclude any use that I myself want to make of the information in these transcrii)ts and recordings. 1 herein warrant that I have not assigned or in any manner encumbered or impaired any of the aforementioned rights in my oral memoir. The only conditions which I place on this unrestricted gift are: 1. 2. 3. Sig^atfird^f Inter\'icwee/Donor PO So^ ^K.O'i Address /iU^--/i>///V^V^-/i/- ./).C. Z,ooo f Vf^^o i/n/0^ Date 8804 Postoak Road • Potomac, MD 20854 • Phone 301-983-5200 • Fax 301-983-4710 • www.saes.org Statetnent of Purpose The purpose of the Oral Flistory Projeci is to reserve valuable historic information in order lo educate latter generations. The evolution of the Washington, DC punk scene in the 1980s has had everlastmg effects on youth culture today, both nationally and internationally. The mterviewee, Guy Picciotto, was a main player in the development of this scene. Therefore, it is historically significant and purposeflil lo document Mr. Picciotlo's stories with the aun of mstructmg generations to come. Nesmith 1 Biography of Guy Picciotto www.rollingstone.com Legendary band member Guy Picciotto was born in 1965 in Washington, DC. Additionally, he was raised and wenl to school m DC, and graduated fi'om Georgetown University m the late 1980s. Having a great interest in music since his pre-teenage years, Picciotto received his fii-st guitar at age 12 after being infatuated with the uiflueiitial band The Beatles. When he entered his teenage years, he also found himself entering the DC punk scene of the 1980s. Bands like Bad Brains mfluenced Picciotto greatly, and inspired him to create his fu*st band. Insurrection. Over the course of about eight years, Picciotto formed and jomed bands such as Embrace, Happy Go Licky, One Last Wish, and the legendary bands Rites of Spring and Fugazi. Picciotto eventually formed his own record label, Peterbih Records, where he packaged and distributed by hand. However, vocals) and the latter Fugazi (guitar). Rites of Sprhig is seen to be the first emotional hardcore (or, "emo") band. On the other hand, Picciotto is thoroughly confiised by the term "emo", since his music was labeled as such only in retrospect. Picciotto's latest band, Fugazi (formed in 1987), has also been the most successftil. He is currently living in Washington, DC with his gu-lfriend and brand new baby girl. Nesmith 2 Contextualization: The DC Punk Scene and Life in the 1980s "You can't hurt me, I'm bamied m DC! / And if you ban us from your clubs, it's the right time, with the right mind. / And if you thmk we really care, you won't fmd m my mind / You can't afford to close your doors, so soon no more!" The legendary Washington, DC punk band Bad Brains sums up the scene perfectly: independent, rebellious, and uniniiibited. The music was loud, energetic, and somewhat abrasive, with a "you can't hurt me" message. This particular genre and scene gave way to numerous punk subgenres and cultures, including emotional hardcore (otherwise known as "emo"). Riot GHTI, and Straight Edge. The punk rock scene of Washmgton, DC did nol only produce such subcultures, but lastmg ones. The effects of the evolution ofthis scene are ever-present today in DC, and America as a whole. Ils effects even span kiternationally. Therefore, because of these vast effects, it is crucial to comprehend the perspective ofthis culture in the time in which it was developing—the 1980s and 1990s. The 1980s were marked by economic growth and prosperity (Reaganomics/Voodoo Economics), but also a rise m homelessness, drug use, and AIDS. Since fonner President Ronald Reagan devoted 1.3 trillion dollars to the military, he sent countless American citizens living under government welfare into the streets by cutting welfare and public transit fimding. Articles like Jay Matthew of The Washington Post's Washington Post staff writer wrote, "President Reagan's welfare cuts for working mothers forced many poor families deeper into poverty." Not only were there more Americans living hungry and homeless, there was also a plentiftil amount who tiuTied to hardcore drug use. Nesmith 3 Cocaine, heroine and ecstasy were on the rise. Because ofthis, "the Reagan administration rediscovered the value ofpoliticizmg drug problems in the 1980s" (1, Reinarman). Bolh former Presidents Reagan and George H.W. Bush waged wars on drugs. Durmg the Regean presidency, parents raised theii' voices agamst drugs, and slogans such as fust lady Nancy Reagan's "Jusl Say No" were coined. However, earlier in 1978, Congress "turned decidedly conservative," and passed the Comprehensive Drug Abuse Prevention and Control Act (http://facully.ncwc.edu/tocormor/poF4951ect03.htm). This act "provided for the seizure of all money and properly by persons arrested for engaging in the exchange ofa controlled substance" (liltp://faculty.ncwc.edu/locoiinor/poF4951ect03.htni). George H.W. Bush started liis war on drugs directly upon his entry into the Wliile House. He staited by sending troops into Panama in order to overtliiow Manuel Noriega, and put Iiim on trial under drug trafficking charges. Both Bush and Reagan ftilly supported and stressed the "zero tolerance" attitude towards drugs. The fact that dmgs were on such an incluie in American society added more emphasis on the Straight Edge scene, since MacKaye and his followers were able to wUhstand the overwhelming volume of drugs and stand strong in their beliefs against them. In addition to drugs and homelessness, AIDS (or. Acquired Immunodeficiency 1981, while reportedly, rare cases of the disease occurred prior to 1970. The disease, however, was unknown and somewhat intermittent m the United States. Il has been reported that, "during this period of silence, spread was unchecked by awareness or any preventive action and approxunately 100,000-300,000 persons may have been mfected" Nesmith 4 (http://www.advert.ord/his81_86.htm). The AIDS pandemic is obviously still a concern today, bul the fact that il was bul an unknown factor and terror in American life hi the early 1980s added to fear and uimeeded silence. AIDS was bemg spread by sexual mlercourse (notably, at the time, tlirough male/male hilercourse), dirty herohi syrmges, and any other form of blood-borne transfers. Though the DC punk rock scene made a name for ilself in the very late 70s and 1980s, the genre of punk itself developed in the 1970s (with roots in the 1960s) in Great Britain, Bands like the Sex Pistols helped to create the confiontational politics of punk rock, standing against authority and having a "DIY" (Do II Yourself) attitude. The goal was to get tlimgs done, politically and socially, and to spread the punk anti-establisliment message. These were the days where the genre was merely developing a sound and a reputation; it was neither well-known nor widespread. Punk rock made its transition to the Nation's Capital m 1978, arguably with the band Overkill. WGTB-FM disc jockey and music journalist Myron Bretholz once said of Overkill, "Overkill is doing soinethmg so radical, so avaiit that I fear conimittmg such notions to print: Overkill is doing punk rock, and m a city where a Dan Fogelberg show would probably sell out a month in advance, punk rock, my friends, is radical" (Anderson, 3). The newly-born DC punk scene found its strongholds in specific areas: student-populated Georgetown, heavily „n,,/l u;— r> 1 o:..-i_ _.. J tt- - i—i-. i .* (Anderson, 3). WGTB-FM, a radio station created by priest and Georgetown University astrology professor Francis B. Heyden was a leading way for the new punk scene to voice its message to a responsive audience.
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