Jump to content

Black Flag (band): Difference between revisions

From Wikipedia, the free encyclopedia
Content deleted Content added
Replaced content with 'Al queada'
Undid revision 483502406 by 62.119.51.98 (talk)
Line 1: Line 1:
{{Infobox musical artist
Al queada
| name = Black Flag
| image = Blackflag84.jpg
| caption = Black Flag performing in 1984. Left to right: Greg Ginn, Henry Rollins, and Kira Roessler. Drummer Bill Stevenson is not visible behind Rollins.
| image_size = 250
| landscape = Yes
| background = group_or_band
| origin = [[Hermosa Beach, California]], United States
| genre = [[Hardcore punk]]
| years_active = 1976–1986
| label = [[SST Records|SST]]
| associated_acts = [[Circle Jerks]], [[Descendents (band)|Descendents]], [[Minutemen (band)|Minutemen]], [[Dos (band)|Dos]], [[Gone (band)|Gone]], [[The Nig-Heist]], [[October Faction]], Tom Troccoli's Dog, [[S.O.A.]], [[Rollins Band]], [[Chuck Dukowski Sextet]], [[SWA (band)|SWA]], [[Misfits (band)|Misfits]], [[Redd Kross]], [[DC3 (band)|DC3]]
| website =
| current_members =
| past_members = [[Greg Ginn]]<br/>[[Keith Morris]]<br/>[[Raymond Pettibon]]<br/>[[Spot (producer)|Spot]]<br/>[[Chuck Dukowski]]<br/>[[Brian Migdol]]<br/>[[Robo (musician)|Robo]]<br/>[[Ron Reyes]]<br/>[[Dez Cadena]]<br/>[[Henry Rollins]]<br/>[[Emil Johnson]]<br/>[[Chuck Biscuits]]<br/>[[Bill Stevenson (musician)|Bill Stevenson]]<br/>[[Kira Roessler]]<br/>[[Anthony Martinez (drummer)|Anthony Martinez]]<br/>[[C'el Revuelta]]
}}
'''Black Flag''' was an American [[punk rock]] band formed in 1976 in [[Hermosa Beach, California]]. The band was established by [[Greg Ginn]], the guitarist, primary songwriter and sole continuous member through multiple personnel changes in the band. They are widely considered to be one of the first [[hardcore punk]] bands.

Black Flag's sound mixed the raw simplicity of the [[Ramones]] with [[Atonality|atonal]] [[guitar solo]]s and frequent [[tempo]] shifts. The lyrics were written mostly by Ginn, and like other punk rock bands of the late 1970s and early 1980s, Black Flag voiced an [[anti-authoritarian]] and non-conformist message, in songs punctuated with descriptions of [[social isolation]], [[neurosis]], [[poverty]], and [[paranoia]]. These themes were explored further when [[Henry Rollins]] joined the band as lead singer in 1981. Most of the band's material was released on Ginn's independent label, [[SST Records]].

Over the course of the 1980s, Black Flag's sound, as well as their notoriety, evolved in ways that both embraced and alienated much of their early audience. As well as being central to the creation of hardcore punk, they were innovators in the first wave of American West Coast punk rock and are considered a key influence on punk subculture in the United States and abroad. Along with being among the earliest punk rock groups to incorporate elements and the influence of [[Heavy metal music|heavy metal]] melodies and rhythm, there were often overt freestyles, [[free jazz]], [[breakbeat]] and [[contemporary classical]] elements in their sound, especially in Ginn's guitar playing, and the band interspersed records and performances with instrumentals throughout their career. They also played longer, slower, and more complex songs at a time when bands in their milieu performed a raw, fast, [[three-chord song|three-chord]] format. As a result, their extensive discography is more stylistically varied than many of their punk rock contemporaries.

Black Flag was and remains well-respected within [[punk subculture]], primarily for their tireless promotion of an autonomous [[DIY ethic#Punk culture|DIY punk ethic]] and aesthetic. They are often regarded as pioneers in the movement of [[Underground music|underground]] [[independent record label|do-it-yourself record labels]] that flourished among the 1980s punk rock bands. Through constant touring throughout the [[United States]] and [[Canada]], and occasionally [[Europe]], Black Flag established a dedicated [[cult following]].

==History==
===Early years===
Initially called '''Panic''', Black Flag was formed in 1976 in [[Hermosa Beach, California]]. Ginn insisted that the band rehearse several hours a day.<ref name=guitarworld>Grad, David. "Fade to Black." ''Spin''. July 1997</ref> This work ethic proved too challenging for some early members; Ginn and singer [[Keith Morris]] had an especially difficult time finding a reliable bass guitarist, and often rehearsed without a bassist, a factor that contributed to the development of Ginn's distinctive, often low-pitched guitar sound. Ginn's brother [[Raymond Pettibon]] and SST house [[record producer]]-to-be [[Spot (producer)|Spot]] filled in during rehearsals.

[[Chuck Dukowski]], bassist of [[Würm (band)|Würm]], liked Ginn's band, and eventually joined, forming a committed quartet with Ginn, Morris and drummer [[Brian Migdol]]. The band held their first performance in December 1977 in [[Redondo Beach, California]]. To avoid confusion with another band called Panic, they changed the name to '''Black Flag''' in late 1978.<ref name=guitarworld/> They played their first show under this name on January 27, 1979 in Redondo Beach. This was the first time [[Dez Cadena]] saw the band perform.

The name was suggested by Ginn's brother, artist Raymond Pettibon, who also designed the band's logo: a stylized black flag represented as four black bars. Pettibon stated "If a white flag means surrender, a black flag represents anarchy." Their new name was reminiscent of the [[Anarchist symbolism|anarchist symbol]], [[Black Flag (insecticide)|the insecticide of the same name]], and of the British heavy metal band [[Black Sabbath]], one of Ginn's favorite bands. Ginn suggested that he was "comfortable with ''all'' the implications of the name."<ref>Azerrad, Michael. ''[[Our Band Could Be Your Life|Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991]]''. Little Brown and Company, 2001. ISBN 0-316-78753-1, p. 19.</ref> The band [[spray paint]]ed the simple, striking logo all over [[Los Angeles, California]], attracting attention from both supporters and the [[Los Angeles Police Department]]. Pettibon also created much of their cover artwork.

There were few opportunities for [[punk rock]] bands to perform in [[Southern California]]. ([[Los Angeles]] club [[The Masque]] was the center of the L.A. punk scene, but was also rather parochial, and did not often admit bands from outside L.A. proper.) Black Flag organized their own gigs, performing at picnics, house parties, schools; any place that was available. They called club owners themselves to arrange appearances, and plastered hundreds of flyers—usually Pettibon's severe, haunting [[comic strip]] style panels—on any available surface to publicize performances. Dukowski reported that the "minimum [number of flyers] that went out was 500 for a show."<ref>{{cite web | title = A 12-Step Program in Self-Reliance | work=LA Weekly | url = http://www.laweekly.com/ink/01/31/2001:-babcock.php | accessdate = May 27, 2006 }}</ref>

Though Ginn was the band's leader, special note should be made to Dukowski's contributions to Black Flag. Ginn was tireless and profoundly disciplined, however was also rather quiet. Dukowski's intelligent, fast-talking, high-energy persona attracted significant attention, and he was often Black Flag's spokesman to the press. Dukowski acted as the group's tour manager even after he no longer performed with them, and he was likely as important as Ginn in establishing the band's [[DIY ethic#Punk culture|DIY punk ethic]] and demanding work ethic. Dukowski's bass guitar was a vital part of the early Black Flag sound; "[[TV Party (EP)|TV Party]]" for instance, was one of many songs "driven more by Chuck Dukowski's percolating bass line than Ginn's stun-gun guitar."<ref name="Song review - TV Party">{{cite web | title = Song review - TV Party | work=Allmusic | url = {{Allmusic|class=song|id=t2281479|pure_url=yes}} | accessdate = May 27, 2006 }}</ref>

Morris performed as vocalist on Black Flag's earliest recordings, and his energized, manic stage presence was pivotal in the band earning a reputation in Southern California. Migdol was replaced by the enigmatic Colombian drummer [[Robo (musician)|Robo]], whose numerous clicking metallic bracelets became part of his drum sound. The band played with a speed and ferocity that was all but unprecedented in rock music; critic [[Ira Robbins]] declared that "Black Flag was, for all intents and purposes, America's first hardcore band."<ref name="trouser">{{cite web | title = Black Flag | work=[[TrouserPress.com]] | url = http://www.trouserpress.com/entry.php?a=black_flag | accessdate = May 27, 2006 }}</ref> Morris quit in 1979, citing, among other reasons, creative differences with Ginn, and his own "freaking out on [[cocaine]] and speed."<ref>{{cite web | title = Black Flag - the first five years | work=MOJO magazine | url = http://jaybabcock.com/blackflag.html | archiveurl = http://web.archive.org/web/20090122224004/http://jaybabcock.com/blackflag.html | archivedate = 2009-01-22 | accessdate = September 17, 2011 }}</ref> Morris would subsequently form the [[Circle Jerks]].

After Morris's departure, Black Flag recruited fan [[Ron Reyes]] as singer. With Reyes, Black Flag recorded the ''Jealous Again'' 12-inch EP and appeared in the film ''[[The Decline of Western Civilization]]''. This was also the line-up that toured up and down the West Coast for the first time, the version most fans outside of L.A. first saw.

In 1980, Reyes quit Black Flag mid-performance at the Redondo Beach venue The Fleetwood because of escalating violence.{{citation needed|date=June 2008}} For the remainder of that gig, the band played an extended version of "[[Louie Louie]]" and invited audience members to take turns singing.<ref name=guitarworld /> In retaliation for his quitting mid-gig, the band credited Reyes as "[[Ron Reyes|Chavo]] [[Pederasty|Pederast]]," implying he was sexually attracted to younger boys.

The more reliable [[Dez Cadena]] - another fan - then joined as singer. With Cadena onboard, Black Flag began national touring in earnest, and arguably saw two peaks: first as a commercial draw (they sold out the 3,500-seat [[Santa Monica]] Civic Auditorium, a feat they were never able to manage again); and second, perhaps seeing the peak of attention from police in the Los Angeles area, due to the violence associated with Black Flag and punk rock in general. The band members have often insisted, however, that the police instigated far more problems than they solved.

By the summer of 1981, however, Cadena's voice was worn. He had no formal training or previous experience as a singer, and had severely strained his voice during Black Flag's nonstop touring, and he wanted to play guitar rather than sing.

===Rollins joins===
Twenty-year-old fan [[Henry Rollins]] (birth name Henry Garfield) — then living in [[Washington D.C.]] and singing for hardcore band [[S.O.A.]] — had corresponded with the band, and met them when they performed on the U.S. east coast. At an impromptu show in a bar, he asked the band to perform "Clocked In," and the band offered to let him sing the song. Since vocalist Dez Cadena was switching to guitar, the band then invited Rollins to audition. Impressed by his stage demeanor, they asked him to become their permanent vocalist.<ref>"American Hardcore." Dir. Paul Rachman. AHC Productions LLC, 2006. Film.</ref> Despite some doubts, he accepted, due in part to [[Ian MacKaye]]'s encouragement. Rollins acted as [[roadie]] for the remainder of the tour while learning Black Flag's songs during sound checks and encores, while Cadena crafted guitar parts that meshed with Ginn's. Rollins also impressed Black Flag with his broad musical interests during an era when punk rock music and fans were increasingly factionalized; he introduced Black Flag to Washington D.C.'s [[go-go]], a distinctive take on [[funk music]].

Rollins was Black Flag's longest-lasting singer, and has remained active in music to the present. When he joined Black Flag, he brought a different attitude and perspective than previous singers. Some earlier songs, such as "Six Pack" (a song written about ex-singer Keith Morris) blended a nearly goofy sense of satirical criticism (of apathy and [[alcoholism]]) with driving punk rock. He was a dynamic live performer and powerful singer, who usually appeared onstage wearing only [[shorts]]. Ginn once stated that after Rollins joined, "We couldn't do songs with a sense of humor anymore; he got into the serious way-out poet thing."<ref name="Song review - TV Party" />

===Mid-career===
{{Listen
|filename= BlackFlagNervousBreakdown.ogg
|title="Nervous Breakdown"
|description= Sample of Black Flag "Nervous Breakdown" from ''[[Nervous Breakdown (EP)|Nervous Breakdown]]'' EP (1978)
|format=[[Ogg]]}}
{{Listen
|filename=BlackFlagSlipItIn.ogg
|title="Slip It In"
|description= Sample of Black Flag "Slip It In" from ''[[Slip It In]]'' (1984)
|format=[[Ogg]]}}

With Rollins, Black Flag began work on their first full-length album. The sessions for the album (chronicled in [[Michael Azerrad]]'s book ''[[Our Band Could Be Your Life]]'') were a source of conflict between the band and engineer/producer [[Spot (producer)|Spot]], who had worked with the band and the [[SST Records|SST]] label since their early years. Spot had already recorded many of the ''[[Damaged (Black Flag album)|Damaged]]'' tracks with Dez Cadena on vocals (as well as Keith Morris and Ron Reyes) and felt that the band's sound was ruined with the two guitar line-up (these versions can be heard on the albums ''[[Everything Went Black]]'' and ''[[The First Four Years]]''). Whereas the earlier four-piece versions are more focused and much cleaner sounding, the ''Damaged'' recordings are more akin to a live recording, with little stereo separation of guitars, and somewhat muddy. When asked about the lo-fidelity production, Spot has said "They ''wanted'' it to sound that way." However, the artistic content and expression on the album showed the band pushing punk or hardcore music to a new level, with deeply personal and intensely emotional lyrics. As such, ''Damaged'' is generally regarded as Black Flag's most focused recording. One critic has written that ''Damaged'' was "perhaps the best album to emerge from the quagmire that was early-'80s California [[Punk rock|punk]] ... the visceral, intensely physical presence of ''Damaged'' has yet to be equaled, although many bands have tried."<ref>{{cite web|url=http://www.allmusic.com/album/damaged-r1955/review|title=Review: ''Damaged''|last=Dougan|first=John|publisher=[[Allmusic]]|accessdate=1 January 2011}}</ref> ''Damaged'' was released in the fall of 1981, and the group began an extensive tour in support of it, forging an independent network for touring independent music acts that would form a cornerstone of the independent music scene for the decade to come.

The previous year 1980 saw the U.S. punk rock movement hitting a peak in popularity. With ''Damaged'' and their growing reputation as an impressive live band, Black Flag seemed poised on the cusp of a commercial breakthrough. The record was to be distributed by now-defunct Unicorn Records, a subsidiary of [[MCA Records|MCA]]. Trouble began when MCA refused to handle ''Damaged'' after MCA executive Al Bergamo determined the album was an "Anti-Parent" record.<ref>{{cite web | title = Black Flag | work=Sounds magazine | url = http://www.micksinclair.com/sounds/bf.html | accessdate = May 27, 2006 }}</ref> However, according to longtime SST employee [[Joe Carducci]]<ref>Carducci, Joe, ''Rock & the Pop Narcotic''; 2.13.61 Publications, 1995, ISBN 978-1-880985-11-3</ref> the "Anti-Parent" statement was not the real reason for MCA's refusing to distribute ''Damaged''; Carducci reported that Unicorn Records was so poorly managed and so deeply in debt that MCA stood to lose money by distributing the album, regardless of its content. This was the beginning of a legal dispute that would, for several years, disallow Black Flag from using their own name on any record after ''Damaged'' was released on [[SST Records]] and a copy of the "Anti-Parent" statement was placed on the album's cover.<ref name="Allmusic Bio">{{cite web|last=Erlewine|first=Stephen Thomas|title= Black Flag|url=http://www.allmusic.com/artist/black-flag-p3689/biography|publisher=Allmusic|accessdate=8 January 2011}}</ref>

With their new singer, Black Flag and [[Minutemen (band)|The Minutemen]] made their first tour of [[Europe]] in the Winter of 1981. During that tour, the band met punk icon [[Richard Hell]] and opened a concert for him. Rollins later published his diaries from that tour in his book ''[[Get in the Van]]''. As the front man, Rollins was a frequent target of violent audience members, and became known for fist-fights with audience members. Rollins developed a distinct showmanship on stage, where he could entertain an audience just by talking to them.

As the band was about to return home from the European tour, UK customs detained Colombian drummer Robo due to visa problems, and he was not allowed back into the country. This would be the end of his tenure with the band (he eventually was able to get back into the United States and in 1983 would join the [[Misfits (band)|Misfits]] as their drummer). The loss of Robo temporarily put an end to extensive touring for a while. [[Emil Johnson]] of [[Twisted Roots]] filled in for one tour, but it was clear he was only temporary.

While on that tour in Vancouver, the band found out that drummer [[Chuck Biscuits]] was leaving [[D.O.A. (band)|D.O.A.]] He was quickly drafted onboard, traveling with the band for the rest of the tour (cut short because of Henry Rollins' injured knee) to learn the songs. This lineup recorded the later-bootlegged cassette ''[[The Complete 1982 Demos Plus More|1982 Demos]]'', showing the direction the band would go in for the ''My War'' album.

However, due to personality conflicts —in ''Get in the Van'', Rollins described Biscuits as a "fuck up"— and the Unicorn court injunction-forced inactivity of Black Flag, Biscuits left to join their rivals The Circle Jerks. (Later, Biscuits joined ex-Misfits singer Glenn Danzig's solo project [[Danzig (band)|Danzig]]). Black Flag eventually got [[Bill Stevenson (musician)|Bill Stevenson]] of [[Descendents]] to join permanently (he had filled in from time-to-time before). While the Unicorn Records court injunction prevented the group from releasing a new studio album, they nonetheless continued to work on new material, and embarked on a period which would mark a pronounced change in the group's direction (and that of underground music in general).

It is possible that the violence of the previous tour had an effect on the band's direction. The band had also become increasingly interested in music other than punk rock, such as [[The Jimi Hendrix Experience]], and some of the members (particularly Ginn) used [[cannabis]]. (However, various members had been fans of such music long before Black Flag, with Ginn being an avid [[Grateful Dead]] fan, and Cadena a fan of [[Hawkwind]].) Newer material (which can be heard on ''The 1982 Demos'' bootleg) was slower and less like typical punk music, with classic rock and blues influences seeping in. Cadena left to form his own band [[DC3 (band)|DC3]]. He would take some of the new songs he had written for Black Flag with him and record them for DC3's debut album.

Additionally, by late 1983, Dukowski had retired from performing with Black Flag (some accounts report he was "edged out" by Ginn<ref>{{cite web | title = Band line-ups | work=The Mighty Black Flag | url = http://www.ipass.net/jthrush/flagline.htm | accessdate = May 27, 2006 }}</ref>); Azerrad reports that Ginn was dissatisfied with Dukowski's failure to progress as an instrumentalist, and made things difficult for Dukowski in an attempt to make him quit, but in the end, Rollins took it on himself to fire Dukowski.<ref>Azerrad, 41.</ref> However, a few of Dukowski's songs were featured on later albums, and he continued acting in his capacity as tour manager.

1983 found Black Flag with fresh songs and a new direction, but without a bass player, and embroiled in a legal dispute over distribution due to SST's issuing ''Damaged'' (Ginn argued that since MCA was no longer involved, the Unicorn deal was not legally binding, while Unicorn disagreed and sued SST and Black Flag). Until the matter was sorted out, the band were prevented by a court [[injunction]] from using the name "Black Flag" on any recordings. They released a compilation record, ''Everything Went Black'', which was credited to the individual musicians, not "Black Flag". In fact, wherever the original album artwork had the words "Black Flag", they had been covered up with small slips of paper, thus adhering to the letter of the law.

After Unicorn Records declared bankruptcy, Black Flag were released from the injunction, and returned with a vengeance, starting with the release of ''[[My War]]''. The album was both a continuation of ''Damaged'', and a vast leap forward. While the general mood and lyrics continue in the confrontational and emotional tone of ''Damaged'', and the album would prove influential to [[grunge]] music as the decade progressed. Lacking a bass player, Ginn played bass guitar, using the [[pseudonym]] Dale Nixon. On the May 1, 2007 episode of his radio program ''Harmony in My Head'', Rollins reported that one of Ginn's favorite albums during this era was [[Mahavishnu Orchestra]]'s ''[[Birds of Fire]]'' (1973), and opined that [[John McLaughlin (musician)|John McLaughlin]]'s guitar work influenced Ginn.

Freed legally to release albums, Black Flag was re-energized and ready to continue full steam ahead. The band recruited bassist [[Kira Roessler]] (sister of punk keyboardist [[Paul Roessler]], of [[45 Grave]]) to replace Dukowski, and began its most prolific period. With Roessler, Black Flag had arguably found their best bassist. Dukowski was a powerful player, but Roessler brought a level of sophistication and finesse to match Ginn's increasingly ambitious music, without sacrificing any of the visceral impact required for punk rock.

1984 saw Black Flag (and the SST label) at their most ambitious. This year they would release three full-length albums, and toured nearly constantly, with Rollins noting 178 performances for the year, and about that many for 1985. With Dukowski gone, Ginn ceded much of the spotlight to Rollins, who had expressed some discomfort<ref>see the track "Henry" from the spoken word compilation double album "English As a Second Language" (1984)</ref> over being the group's ''[[de facto]]'' spokesman, while Ginn was the recognized leader (Ginn wrote the majority of the group's songs and lyrics).

With Roessler on board, Black Flag began earnest experimentation, sometimes to critical and audience disdain: One critic writes that ''Slip It In'' "blurs the line between moronic punk and moronic metal";<ref name="trouser" /> another writes ''My War'' is "a pretentious mess of a record with a totally worthless second side."<ref>{{cite web | title = Review - My War | work=Allmusic | url = {{Allmusic|class=album|id=r1966|pure_url=yes}} | accessdate = May 27, 2006 }}</ref> Rollins reports that Black Flag's set-lists in this era rarely included older crowd favorites like "Six Pack" or "Nervous Breakdown", and that audiences were often irritated by the new, slower Black Flag. Violence against the band (and especially Rollins) was ever-present, although the vocalist was now an avid weight lifter, and more than able to defend himself. Furthermore, to Rollins' chagrin, Ginn's interest in marijuana steadily increased; as Rollins put it, "By '86 it was 'Cannot separate the man from his Anvil case with a big-ass stash.'"<ref>Azerrad, 58.</ref> Despite the initial resistance to the new music and quasi-psychedelic direction, ''My War'' would later be cited as a formative influence on grunge. The band would continue to evolve toward a more heavy metal sound, with 1985's ''[[Loose Nut]]'' featuring more polished production.

===Later period and break up===
Despite 1984-85 being the most fruitful period for the band and their record label, Ginn and Rollins would ultimately decide to eject Roessler from Black Flag, citing erratic behavior. It has also been suggested that Ginn's accommodating Roessler's college schedule created tension in the band. Her absence, and the lack of a steady drummer (Stevenson quit and was replaced by [[Anthony Martinez (drummer)|Anthony Martinez]]), contributed to the comparatively weak reputation of the last few Black Flag tours. However, the live album ''[[Who's Got the 10½?]]'' shows the evolving line-up, with Kira and drummer Martinez, to be a powerful and entertaining unit.

By 1986, Black Flag's members had grown tired of the tensions of their relentless touring schedule, infighting, and of living in near-[[poverty]]. The band had been together almost a decade, and true commercial success and stability had eluded them. The band's erratic artistic changes were a barrier to their retaining an audience - Ginn was so creatively restless that Black Flag's albums were often very dissimilar. At one point, Rollins apparently said, "Why don't we make a record that was like the last one so people won't always be trying to catch up with what we're doing?"<ref>Azerrad, 59.</ref> The next album, ''[[In My Head (album)|In My Head]]'', with its powerful bluesy proto-grunge-metal, did seem to finally be a cohesive follow-up to their previous album ''Loose Nut'', but it would be their last.

Black Flag played their last concert on June 27, 1986, in [[Detroit, Michigan]]. In ''Get in the Van'', Rollins wrote that Ginn telephoned him in August 1986: "He told me he was quitting the band. I thought that was strange considering it was his band and all. So in one short phone call, it was all over."

===Post-Black Flag===
Since Black Flag's break-up, Rollins has had the most visible public profile as a musician, writer, and actor. Most Black Flag members have also remained active in music, especially Ginn, who continued playing with bands such as [[Gone (band)|Gone]], [[October Faction]], and Screw Radio, and [[Bill Stevenson (musician)|Stevenson]], who continued on with the [[Descendents]], [[All (band)|All]], [[Only Crime]], and the reformed [[The Lemonheads|Lemonheads]]. Kira Roessler continues to record and perform with the band DOS, a duet with ex-husband and Minutemen bassist [[Mike Watt]].

In September 2003, Black Flag played three reunion shows, two at the [[Hollywood Palladium]] and one at Alex's Bar in [[Long Beach, California]], to benefit cat rescue organizations (a current passion of Ginn's). The line-up for the shows was [[Dez Cadena]] on vocals, [[Greg Ginn]] on guitar, [[Robo (musician)|Robo]] on drums, and [[C'el Revuelta]] on bass. Professional skateboarder and singer [[Mike Vallely]] also sang all the songs from ''[[My War]]'' at these shows.

On July 14, 2010, in celebration of [[Ron Reyes]]'s 50th birthday, [[Greg Ginn]] and Reyes played a set of three Black Flag songs together in addition to his own set with the Ron Reyes Band.<ref name="Beadle (2010)">{{cite web|last=Beadle|first=Scott|title=Ron Reyes 50th Birthday Celebration with the Jolts, Ron Reyes Band, Modernettes, Little Guitar Army, and I Braineater - Rickshaw Theatre (Vancouver BC), July 24, 2010|url=http://www.bigtakeover.com/concerts/ron-reyes-50th-birthday-celebration-with-the-jolts-ron-reyes-band-modernettes-little-guitar-army-and-i-braineater-rickshaw-theatre-vancouver-bc-july-24-2010|publisher=The Big Takeover|accessdate=11 December 2010}}</ref>

[[File:Black Flag 2011-12-18 03.jpg|thumb|right|250px|Left to right: [[Stephen Egerton (guitarist)|Stephen Egerton]], [[Keith Morris]], [[Bill Stevenson (musician)|Bill Stevenson]], and [[Chuck Dukowski]] performing as Black Flag at the GV30 show in December 2011]]
On December 18, 2011, Keith Morris, Chuck Dukowski, Bill Stevenson, and the Descendents' Stephen Egerton played the ''Nervous Breakdown'' EP in its entirety for the Goldenvoice 30th anniversary show called GV 30. This surprise gig at the Santa Monica Civic Auditorium took place between sets by the Vandals and the Descendents.<ref>{{cite web|last=Cabral |first=Javier |url=http://blogs.laweekly.com/westcoastsound/2011/12/gv30_black_flag_descendents.php |title=GV30: Black Flag, Descendents, the Vandals - Santa Monica Civic Auditorium - 12/18/11 - Los Angeles Music - West Coast Sound |publisher=Blogs.laweekly.com |date=2011-12-19 |accessdate=2012-02-21}}</ref>

==Legacy==
Throughout their ten-year career as a band, Black Flag’s experiences became legendary, especially in the Southern California area. Much of the band’s history is chronicled in Henry Rollins’ own published tour diary ''[[Get in the Van]]''. Black Flag were reportedly blacklisted by the [[Los Angeles Police Department|LAPD]] and [[Hollywood]] rock clubs because of the destructiveness of their fans, though Rollins has claimed that police caused far more problems than they solved.

SST Records, an independent American record label that was initially founded to release Black Flag’s debut single, released recordings by influential bands such as [[Bad Brains]], [[Minutemen (band)|The Minutemen]], [[Descendents]], [[Meat Puppets]], and [[Hüsker Dü]]. As well, SST released some albums by [[Negativland]], [[Soundgarden]], and, for a short period, [[Sonic Youth]].

Black Flag's career is chronicled in ''[[Our Band Could Be Your Life]]'', a study of several important American [[underground rock]] bands. Many members of the [[grunge]] scene cited Black Flag's ''[[My War]]'' album as being influential in their departure from the standard punk model. [[Steve Turner (guitarist)|Steve Turner]] of [[Mudhoney]] stated in an interview, "A lot of other people around the country hated the fact that Black Flag slowed down ... but up here it was really great — we were like 'Yay!' They were weird and fucked-up sounding."<ref name="Azerrad419">Azerrad, 419.</ref>

[[Red Hot Chili Peppers]] bassist Flea has a Black Flag decal on one of his signature [[Modulus Guitars|Modulus]] bass guitars, and guitarist [[John Frusciante]] has cited Greg Ginn as one of his early influences as a guitar player.<ref>{{cite web|url=http://www.rollingstone.com/music/news/14473/78492 | title=The New Guitar Gods|publisher=''[[Rolling Stone]]''|accessdate=2008-02-07}}</ref>

British acoustic artist and punk rocker [[Frank Turner]] has a Black Flag icon tattoo on his wrist and cites the band as one of his primary inspirations, particularly in regards to their work ethic.<ref name="TL1">{{cite news | url=http://www.list.co.uk/article/13612-frank-turner/ | title=Frank Turner | author=Moore, Rebecca | publisher=''[[The List (magazine)]]'' | date=October 16, 2008}}</ref><ref name="RL1">{{cite news | url=http://www.rocklouder.co.uk/articles/1185.html | title=Frank Turner: Think Black Flag | author=Turner, Frank | publisher=''Rock Louder'' | date=August, 2008}}</ref> With [[Million Dead]], if anything went wrong with their tour, Turner said they would "Think Black Flag."<ref name="RL1" />

Vocalist [[Maynard James Keenan]] of the bands [[Tool (band)|Tool]] and [[A Perfect Circle]], has described seeing Black Flag perform in the '80s as a young punk rocker in [[Grand Rapids, Michigan]], as a "revelatory and life-changing" experience. A Perfect Circle also covered the Black Flag song "Gimmie Gimmie Gimmie" on their [[Emotive (album)|''Emotive'']] album.<ref>{{cite web|url=http://toolshed.down.net/articles/index.php?action=view-article&id=October_1994--RIP.html | title=Toe to Toe with Maynard and Hank|publisher=''RIP Magazine''|accessdate=2010-03-08}}</ref>

Punk band [[Rise Against]] portrayed Black Flag in the 2005 ''[[Lords of Dogtown]]'' film, and their cover of "Nervous Breakdown" is on the ''Lords of Dogtown'' soundtrack. Rise Against also does a cover of the Black Flag song "Fix Me" in the video game ''[[Tony Hawk's American Wasteland]]''.

[[Initial Records]] released a Black Flag cover album in 2002 (re-released with additional tracks in 2006 by ReIgnition Recordings), ''[[Black on Black: A Tribute to Black Flag]]''. The compilation features 15 hardcore and metalcore bands — including [[Most Precious Blood (band)|Most Precious Blood]], [[Converge (band)|Converge]], [[The Dillinger Escape Plan]], [[American Nightmare]], [[Drowningman]], and [[Coalesce (band)|Coalesce]].<ref name="Black on Black (Allmusic)">{{cite web|last=Monger|first=Christopher|title=Black on Black: A Tribute to Black Flag (2006)|url={{Allmusic|class=album|id=r821755|pure_url=yes}}|publisher=[[Allmusic]]|accessdate=11 December 2010}}</ref>

==Iconography==
[[Image:Black Flag logo.jpg|thumb|200px|right|The band's logo was created by artist [[Raymond Pettibon]] to symbolize their themes of rebellion and [[anarchy]]. As the band gained popularity the logo was [[graffiti]]ed in and around [[Los Angeles]], drawing the attention of the police to the band's activities.<ref name="Azerrad, 21.">Azerrad, 21.</ref>]]Black Flag's visual imagery and artwork complemented the themes found in the band's music. Greg Ginn's brother Raymond Ginn, under the [[pseudonym]] [[Raymond Pettibon]], created the artwork for all of the band's studio releases with the exceptions of ''[[Damaged (Black Flag album)|Damaged]]'' and the "[[TV Party (EP)|TV Party]]" single, as well as providing artwork for the band members to transform into merchandise and [[gig (musical performance)|gig]] [[flyer (pamphlet)|flyers]].<ref name="Azerrad, 51.">Azerrad, 51.</ref> When the band found it necessary to change their name from Panic in 1977, it was Pettibon who suggested the new name Black Flag and designed their iconic logo: four vertical black rectangles comprising a stylized rippling black flag. The logo evoked a number of meanings: it was the polar opposite of a [[white flag]] of surrender, as well as a symbol for [[anarchism]] and a traditional emblem of [[piracy|pirates]].<ref name="Azerrad, 19.">Azerrad, 19.</ref> As the band gained popularity the logo was [[graffiti]]ed on numerous [[highway]] [[overpass]]es and other public and private surfaces in and around Los Angeles, drawing the attention of the authorities and contributing to an increase in police presence at Black Flag shows.<ref name="Azerrad, 21." />

Pettibon's artwork for the band's albums and flyers was equally stark and confrontational. He typically worked in one panel using only [[pen and ink]], so the message conveyed had to be direct and powerful due to lack of space and color.<ref name="Azerrad, 51." /> According to [[Michael Azerrad]] in ''[[Our Band Could Be Your Life]]'', the artwork "was a perfect visual analogue to the music it promoted – gritty, stark, violent, smart, provocative, and utterly American."<ref name="Azerrad, 51." /> It also provided a cerebral aspect to the band's image: as the mainstream media caricatured Black Flag as a mindlessly aggressive act, the pairing of their music with high-concept artwork hinted at a greater intelligence at work that was unknown to outsiders.<ref name="Azerrad, 51." /> [[Henry Rollins]], in his journal collection ''[[Get in the Van]]'', notes that Pettibon's artwork became synonymous with Black Flag and that before Rollins joined the band he would collect photocopies of their flyers that had circulated from California to Washington D.C.<ref>Rollins, ''Get in the Van'', 3.</ref> The album cover for ''[[Nervous Breakdown (EP)|Nervous Breakdown]]'' had a particularly strong impact on Rollins: "The record's cover art said it all. A man with his back to the wall baring his fists. In front of him another man fending him off with a chair. I felt like the guy with his fists up every day of my life."<ref>Rollins, ''Get in the Van'', 9.</ref> Another image which drew considerable attention was the artwork created for the "Police Story" single, showing a police officer being held with a gun in his mouth with the speech blurb "Make me come, faggot!" The image was plastered on flyers all around Los Angeles and added to the police pressure on the band.<ref name="Azerrad, 21." /> Pettibon later remarked that "my values are relativistic, and I’ll give a cop the benefit of the doubt. If that’s me with my [[gun|gat]] – my gat’s larger than the one depicted – we can have a discussion, and he can answer me just as well with my [[.357 Magnum|.357]] barrel in his mouth, or on his cheek, or on his [[adenoid]]s, or down his throat. I’ll listen to his whimpering cries."<ref name="Swindle">{{cite web| last =Penalty| first =Jeff| authorlink =Jeff Penalty| coauthors =| title =Raymond Pettibon| work =Swindle| publisher =| year =2008| url =http://swindlemagazine.com/issueicons/raymond-pettibon/| format =| doi =| accessdate =2008-02-10}}</ref> After joining the band Rollins would sometimes watch Pettibon draw, admiring his work ethic and the fact that he did not make telephone calls or sit for interviews.<ref>Rollins, ''Get in the Van'', 173.</ref> The drawings themselves rarely bore a direct connection to the music or its lyrical themes. Pettibon himself recalls that "These drawings just represented what I was thinking. Except for a few instances, the flyers weren't done as commercial art or advertising. You could have stuck anything on a [[photocopier|photocopy machine]] and put the band name and made an advertising flyer, but these weren't done like that. I was vehement about that as much as my personality allowed."<ref name="We Got the Neutron Bomb">{{cite book| last =Spitz| first =Mark| authorlink =Mark Spitz| coauthors =Brendan Mullen, Ed.| title =[[We Got the Neutron Bomb|We Got the Neutron Bomb: The Untold Story of L.A. Punk]]| publisher =[[Three Rivers Press]]| year =2001| location =[[New York, New York|New York]]| pages =198–199| url =| doi =| isbn =0609807749}}</ref> Pettibon also sold [[pamphlet]] books of his work through [[SST Records|SST]], with titles such as ''Tripping Corpse'', ''New Wave of Violence'', and ''The Bible, the Bottle, and the Bomb'', and did artwork for other SST acts such as the [[Minutemen (band)|Minutemen]].<ref name="Azerrad, 51." />

[[Image:Black Flag Police Story sticker.jpg|thumb|left|Pettibon's drawing of a police officer being held at gunpoint was used on flyers and merchandise promoting the "Police Story" single. The speech blurb reads "Make me come, faggot!" The text to the left reads "Art: Chuck Higby", a pseudonym.<ref name="Azerrad, 21." />]]In order to adapt Pettibon's artwork to meet the layout requirements of their albums and flyers, the members of Black Flag would alter it by cutting and pasting and adding their name, logo, and gig details to it. They would then make photocopies and put up dozens of flyers to promote their shows. Rollins recalls going out on a flyering mission with roadie Mugger in 1981 in which the pair would put a layer of [[adhesive|paste]] onto a [[utility pole|telephone pole]], stick up the flyer, and then cover it with an additional coat of paste so that it would last for up to a year. The band members and their crew would do this for miles around, using dozens of flyers to promote a single performance.<ref>Rollins, ''Get in the Van'', 21.</ref> Pettibon, however, did not always appreciate the band's treatment of his art, which he provided to them largely for free.<ref name="Azerrad, 54.">Azerrad, 54.</ref> "To me my work was the equivalent of a band like Black Flag or any other band who was righteously self-protective of recordings. I would give them original art and it would come back to me scrawled upon and taped over or [[correction fluid|whited out]], and I'd always ask nicely, 'Could you please make a copy of this first and then do that?' Their master tapes were deemed sacrosanct, while my work was seen as completely disposable, but I'm not venting or complaining, just stating fact."<ref name="We Got the Neutron Bomb" /> Pettibon also felt pigeonholed by his association with the band, and had a falling out with them in 1985 over artwork used on the cover of the ''[[Loose Nut]]'' album, which had been used for a flyer several years earlier. Ginn resurrected it without telling his brother and turned it over to [[drummer]] [[Bill Stevenson (musician)|Bill Stevenson]] to do the layout, who cut it into pieces and used them as elements for the cover and lyric sheet. Pettibon became irate and he and Ginn stopped speaking for some time, though his artwork continued to be used for the remainder of the band's career.<ref name="Azerrad, 54." />

[[Tattoo]]s of the Black Flag logo have become widespread since its creation.<ref name="AB1">{{cite news |title= Barred For Life - Recognizing the faithful followers of the Flag|url=http://punkmusic.about.com/b/2009/04/06/barred-for-life-recognizing-the-faithful-followers-of-the-flag.htm
|publisher= ''[[about.com]]'' |author=Cooper, Ryan |date= April 6, 2009}}</ref> In 2009, a project entitled ''Barred for Life'' was started by a Philadelphia based group to photograph people with Black Flag tattoos for an upcoming book.<ref name="AB1" /><ref name="PDN1">{{cite news |title= They'll picture Black Flag tattoos|url=http://www.philly.com/dailynews/features/gossip/20090402_Dan_Gross__They_ll_picture_Black_Flag_tattoos.html
|publisher= ''[[Philadelphia Daily News]]'' |author=Gross, Dan |date= April 2, 2009}}</ref>
{{-}}

==Members==
{{details|List of Black Flag band members}}
{|
{{col-2}}
'''Vocalists'''
* [[Keith Morris]] (1976–1979)
** credited as Johnny "Bob" Goldstein on ''[[Everything Went Black]]''
* [[Ron Reyes]] (1979–1980)
** credited as Chavo Pederast on ''[[Jealous Again]]'' and ''Everything Went Black''
* [[Dez Cadena]] (1980–1981, 2003)
* [[Henry Rollins]] (1981–1986)

'''Bassists'''
* [[Raymond Pettibon]] (Raymond Ginn) (1976)
* [[Spot (producer)|Glen "Spot" Lockett]] (1976–1977)
* [[Chuck Dukowski]] (Gary McDaniel) (1977–1983)
* [[Kira Roessler]] (1983–1985)
* [[C'el Revuelta]] (1986, 2003)
{{col-2}}
;Guitarists
* [[Greg Ginn]] (1976–1986, 2003)
* [[Dez Cadena]] (1981–1983, 2003)

'''Drummers'''
* [[Brian Migdol]] (1977–1978)
* [[Robo (musician)|Roberto "ROBO" Valverde]] (1978–1981, 2003)
* [[Emil Johnson]] (1982)
* [[Chuck Biscuits]] (Charles Montgomery) (1982)
* [[Bill Stevenson (musician)|Bill Stevenson]] (1983–1985)
* [[Anthony Martinez (drummer)|Anthony Martinez]] (1985–1986)
|}

==Discography==
{{main|Black Flag discography}}
'''Studio albums'''
* ''[[Damaged (Black Flag album)|Damaged]]'' (1981)
* ''[[My War]]'' (1984)
* ''[[Family Man (album)|Family Man]]'' (1984)
* ''[[Slip It In]]'' (1984)
* ''[[Loose Nut]]'' (1985)
* ''[[In My Head (album)|In My Head]]'' (1985)

==Bibliography==
* [[Michael Azerrad|Azerrad, Michael]]. ''[[Our Band Could Be Your Life|Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991]]''. [[New York, New York|New York]]: [[Little, Brown and Company]], 2001. ISBN 0-316-78753-1.
* [[Henry Rollins|Rollins, Henry]]. ''[[Get in the Van|Get in the Van: On the Road with Black Flag]]'', 2nd ed. [[Los Angeles]]: [[2.13.61]], 2004. ISBN 1-880985-76-4.

==References==
{{reflist|2}}

==External links==
{{Commons category|Black Flag (band)}}
* [http://www.ipass.net/jthrush/rollflag.htm The Mighty Black Flag (fan site)]
* [http://www.operationphoenixrecords.com/suburbanvoiceblackflag.html Suburban Voice Interview] – Black Flag interview from 1984
* [http://www.operationphoenixrecords.com/flipsideblackflag.html Flipside Interview] – Black Flag interview from 1980

{{Black Flag}}

<!-- Do not add "Category:Hardcore punk groups". It is redundant to the more specific "Category:Hardcore punk groups from California". Being in the more specific subcategoy also places the article within the parent category by default. -->

{{DEFAULTSORT:Black Flag}}
[[Category:Black Flag (band)]]
[[Category:Hardcore punk groups from California]]
[[Category:Musical groups from Los Angeles, California]]
[[Category:Musical groups established in 1977]]
[[Category:Musical groups disestablished in 1986]]
[[Category:SST Records artists]]

[[bg:Блек Флаг]]
[[ca:Black Flag]]
[[cs:Black Flag]]
[[da:Black Flag]]
[[de:Black Flag]]
[[es:Black Flag]]
[[eu:Black Flag]]
[[fa:بلک فلگ]]
[[fr:Black Flag]]
[[gl:Black Flag]]
[[ko:블랙 플래그]]
[[hr:Black Flag]]
[[it:Black Flag]]
[[nl:Black Flag]]
[[ja:ブラック・フラッグ]]
[[no:Black Flag]]
[[pl:Black Flag]]
[[pt:Black Flag]]
[[ru:Black Flag]]
[[simple:Black Flag]]
[[sk:Black Flag]]
[[sh:Black Flag]]
[[fi:Black Flag]]
[[sv:Black Flag]]
[[tr:Black Flag]]

Revision as of 10:22, 23 March 2012

Black Flag
Black Flag performing in 1984. Left to right: Greg Ginn, Henry Rollins, and Kira Roessler. Drummer Bill Stevenson is not visible behind Rollins.
Black Flag performing in 1984. Left to right: Greg Ginn, Henry Rollins, and Kira Roessler. Drummer Bill Stevenson is not visible behind Rollins.
Background information
OriginHermosa Beach, California, United States
GenresHardcore punk
Years active1976–1986
LabelsSST
Past membersGreg Ginn
Keith Morris
Raymond Pettibon
Spot
Chuck Dukowski
Brian Migdol
Robo
Ron Reyes
Dez Cadena
Henry Rollins
Emil Johnson
Chuck Biscuits
Bill Stevenson
Kira Roessler
Anthony Martinez
C'el Revuelta

Black Flag was an American punk rock band formed in 1976 in Hermosa Beach, California. The band was established by Greg Ginn, the guitarist, primary songwriter and sole continuous member through multiple personnel changes in the band. They are widely considered to be one of the first hardcore punk bands.

Black Flag's sound mixed the raw simplicity of the Ramones with atonal guitar solos and frequent tempo shifts. The lyrics were written mostly by Ginn, and like other punk rock bands of the late 1970s and early 1980s, Black Flag voiced an anti-authoritarian and non-conformist message, in songs punctuated with descriptions of social isolation, neurosis, poverty, and paranoia. These themes were explored further when Henry Rollins joined the band as lead singer in 1981. Most of the band's material was released on Ginn's independent label, SST Records.

Over the course of the 1980s, Black Flag's sound, as well as their notoriety, evolved in ways that both embraced and alienated much of their early audience. As well as being central to the creation of hardcore punk, they were innovators in the first wave of American West Coast punk rock and are considered a key influence on punk subculture in the United States and abroad. Along with being among the earliest punk rock groups to incorporate elements and the influence of heavy metal melodies and rhythm, there were often overt freestyles, free jazz, breakbeat and contemporary classical elements in their sound, especially in Ginn's guitar playing, and the band interspersed records and performances with instrumentals throughout their career. They also played longer, slower, and more complex songs at a time when bands in their milieu performed a raw, fast, three-chord format. As a result, their extensive discography is more stylistically varied than many of their punk rock contemporaries.

Black Flag was and remains well-respected within punk subculture, primarily for their tireless promotion of an autonomous DIY punk ethic and aesthetic. They are often regarded as pioneers in the movement of underground do-it-yourself record labels that flourished among the 1980s punk rock bands. Through constant touring throughout the United States and Canada, and occasionally Europe, Black Flag established a dedicated cult following.

History

Early years

Initially called Panic, Black Flag was formed in 1976 in Hermosa Beach, California. Ginn insisted that the band rehearse several hours a day.[1] This work ethic proved too challenging for some early members; Ginn and singer Keith Morris had an especially difficult time finding a reliable bass guitarist, and often rehearsed without a bassist, a factor that contributed to the development of Ginn's distinctive, often low-pitched guitar sound. Ginn's brother Raymond Pettibon and SST house record producer-to-be Spot filled in during rehearsals.

Chuck Dukowski, bassist of Würm, liked Ginn's band, and eventually joined, forming a committed quartet with Ginn, Morris and drummer Brian Migdol. The band held their first performance in December 1977 in Redondo Beach, California. To avoid confusion with another band called Panic, they changed the name to Black Flag in late 1978.[1] They played their first show under this name on January 27, 1979 in Redondo Beach. This was the first time Dez Cadena saw the band perform.

The name was suggested by Ginn's brother, artist Raymond Pettibon, who also designed the band's logo: a stylized black flag represented as four black bars. Pettibon stated "If a white flag means surrender, a black flag represents anarchy." Their new name was reminiscent of the anarchist symbol, the insecticide of the same name, and of the British heavy metal band Black Sabbath, one of Ginn's favorite bands. Ginn suggested that he was "comfortable with all the implications of the name."[2] The band spray painted the simple, striking logo all over Los Angeles, California, attracting attention from both supporters and the Los Angeles Police Department. Pettibon also created much of their cover artwork.

There were few opportunities for punk rock bands to perform in Southern California. (Los Angeles club The Masque was the center of the L.A. punk scene, but was also rather parochial, and did not often admit bands from outside L.A. proper.) Black Flag organized their own gigs, performing at picnics, house parties, schools; any place that was available. They called club owners themselves to arrange appearances, and plastered hundreds of flyers—usually Pettibon's severe, haunting comic strip style panels—on any available surface to publicize performances. Dukowski reported that the "minimum [number of flyers] that went out was 500 for a show."[3]

Though Ginn was the band's leader, special note should be made to Dukowski's contributions to Black Flag. Ginn was tireless and profoundly disciplined, however was also rather quiet. Dukowski's intelligent, fast-talking, high-energy persona attracted significant attention, and he was often Black Flag's spokesman to the press. Dukowski acted as the group's tour manager even after he no longer performed with them, and he was likely as important as Ginn in establishing the band's DIY punk ethic and demanding work ethic. Dukowski's bass guitar was a vital part of the early Black Flag sound; "TV Party" for instance, was one of many songs "driven more by Chuck Dukowski's percolating bass line than Ginn's stun-gun guitar."[4]

Morris performed as vocalist on Black Flag's earliest recordings, and his energized, manic stage presence was pivotal in the band earning a reputation in Southern California. Migdol was replaced by the enigmatic Colombian drummer Robo, whose numerous clicking metallic bracelets became part of his drum sound. The band played with a speed and ferocity that was all but unprecedented in rock music; critic Ira Robbins declared that "Black Flag was, for all intents and purposes, America's first hardcore band."[5] Morris quit in 1979, citing, among other reasons, creative differences with Ginn, and his own "freaking out on cocaine and speed."[6] Morris would subsequently form the Circle Jerks.

After Morris's departure, Black Flag recruited fan Ron Reyes as singer. With Reyes, Black Flag recorded the Jealous Again 12-inch EP and appeared in the film The Decline of Western Civilization. This was also the line-up that toured up and down the West Coast for the first time, the version most fans outside of L.A. first saw.

In 1980, Reyes quit Black Flag mid-performance at the Redondo Beach venue The Fleetwood because of escalating violence.[citation needed] For the remainder of that gig, the band played an extended version of "Louie Louie" and invited audience members to take turns singing.[1] In retaliation for his quitting mid-gig, the band credited Reyes as "Chavo Pederast," implying he was sexually attracted to younger boys.

The more reliable Dez Cadena - another fan - then joined as singer. With Cadena onboard, Black Flag began national touring in earnest, and arguably saw two peaks: first as a commercial draw (they sold out the 3,500-seat Santa Monica Civic Auditorium, a feat they were never able to manage again); and second, perhaps seeing the peak of attention from police in the Los Angeles area, due to the violence associated with Black Flag and punk rock in general. The band members have often insisted, however, that the police instigated far more problems than they solved.

By the summer of 1981, however, Cadena's voice was worn. He had no formal training or previous experience as a singer, and had severely strained his voice during Black Flag's nonstop touring, and he wanted to play guitar rather than sing.

Rollins joins

Twenty-year-old fan Henry Rollins (birth name Henry Garfield) — then living in Washington D.C. and singing for hardcore band S.O.A. — had corresponded with the band, and met them when they performed on the U.S. east coast. At an impromptu show in a bar, he asked the band to perform "Clocked In," and the band offered to let him sing the song. Since vocalist Dez Cadena was switching to guitar, the band then invited Rollins to audition. Impressed by his stage demeanor, they asked him to become their permanent vocalist.[7] Despite some doubts, he accepted, due in part to Ian MacKaye's encouragement. Rollins acted as roadie for the remainder of the tour while learning Black Flag's songs during sound checks and encores, while Cadena crafted guitar parts that meshed with Ginn's. Rollins also impressed Black Flag with his broad musical interests during an era when punk rock music and fans were increasingly factionalized; he introduced Black Flag to Washington D.C.'s go-go, a distinctive take on funk music.

Rollins was Black Flag's longest-lasting singer, and has remained active in music to the present. When he joined Black Flag, he brought a different attitude and perspective than previous singers. Some earlier songs, such as "Six Pack" (a song written about ex-singer Keith Morris) blended a nearly goofy sense of satirical criticism (of apathy and alcoholism) with driving punk rock. He was a dynamic live performer and powerful singer, who usually appeared onstage wearing only shorts. Ginn once stated that after Rollins joined, "We couldn't do songs with a sense of humor anymore; he got into the serious way-out poet thing."[4]

Mid-career

With Rollins, Black Flag began work on their first full-length album. The sessions for the album (chronicled in Michael Azerrad's book Our Band Could Be Your Life) were a source of conflict between the band and engineer/producer Spot, who had worked with the band and the SST label since their early years. Spot had already recorded many of the Damaged tracks with Dez Cadena on vocals (as well as Keith Morris and Ron Reyes) and felt that the band's sound was ruined with the two guitar line-up (these versions can be heard on the albums Everything Went Black and The First Four Years). Whereas the earlier four-piece versions are more focused and much cleaner sounding, the Damaged recordings are more akin to a live recording, with little stereo separation of guitars, and somewhat muddy. When asked about the lo-fidelity production, Spot has said "They wanted it to sound that way." However, the artistic content and expression on the album showed the band pushing punk or hardcore music to a new level, with deeply personal and intensely emotional lyrics. As such, Damaged is generally regarded as Black Flag's most focused recording. One critic has written that Damaged was "perhaps the best album to emerge from the quagmire that was early-'80s California punk ... the visceral, intensely physical presence of Damaged has yet to be equaled, although many bands have tried."[8] Damaged was released in the fall of 1981, and the group began an extensive tour in support of it, forging an independent network for touring independent music acts that would form a cornerstone of the independent music scene for the decade to come.

The previous year 1980 saw the U.S. punk rock movement hitting a peak in popularity. With Damaged and their growing reputation as an impressive live band, Black Flag seemed poised on the cusp of a commercial breakthrough. The record was to be distributed by now-defunct Unicorn Records, a subsidiary of MCA. Trouble began when MCA refused to handle Damaged after MCA executive Al Bergamo determined the album was an "Anti-Parent" record.[9] However, according to longtime SST employee Joe Carducci[10] the "Anti-Parent" statement was not the real reason for MCA's refusing to distribute Damaged; Carducci reported that Unicorn Records was so poorly managed and so deeply in debt that MCA stood to lose money by distributing the album, regardless of its content. This was the beginning of a legal dispute that would, for several years, disallow Black Flag from using their own name on any record after Damaged was released on SST Records and a copy of the "Anti-Parent" statement was placed on the album's cover.[11]

With their new singer, Black Flag and The Minutemen made their first tour of Europe in the Winter of 1981. During that tour, the band met punk icon Richard Hell and opened a concert for him. Rollins later published his diaries from that tour in his book Get in the Van. As the front man, Rollins was a frequent target of violent audience members, and became known for fist-fights with audience members. Rollins developed a distinct showmanship on stage, where he could entertain an audience just by talking to them.

As the band was about to return home from the European tour, UK customs detained Colombian drummer Robo due to visa problems, and he was not allowed back into the country. This would be the end of his tenure with the band (he eventually was able to get back into the United States and in 1983 would join the Misfits as their drummer). The loss of Robo temporarily put an end to extensive touring for a while. Emil Johnson of Twisted Roots filled in for one tour, but it was clear he was only temporary.

While on that tour in Vancouver, the band found out that drummer Chuck Biscuits was leaving D.O.A. He was quickly drafted onboard, traveling with the band for the rest of the tour (cut short because of Henry Rollins' injured knee) to learn the songs. This lineup recorded the later-bootlegged cassette 1982 Demos, showing the direction the band would go in for the My War album.

However, due to personality conflicts —in Get in the Van, Rollins described Biscuits as a "fuck up"— and the Unicorn court injunction-forced inactivity of Black Flag, Biscuits left to join their rivals The Circle Jerks. (Later, Biscuits joined ex-Misfits singer Glenn Danzig's solo project Danzig). Black Flag eventually got Bill Stevenson of Descendents to join permanently (he had filled in from time-to-time before). While the Unicorn Records court injunction prevented the group from releasing a new studio album, they nonetheless continued to work on new material, and embarked on a period which would mark a pronounced change in the group's direction (and that of underground music in general).

It is possible that the violence of the previous tour had an effect on the band's direction. The band had also become increasingly interested in music other than punk rock, such as The Jimi Hendrix Experience, and some of the members (particularly Ginn) used cannabis. (However, various members had been fans of such music long before Black Flag, with Ginn being an avid Grateful Dead fan, and Cadena a fan of Hawkwind.) Newer material (which can be heard on The 1982 Demos bootleg) was slower and less like typical punk music, with classic rock and blues influences seeping in. Cadena left to form his own band DC3. He would take some of the new songs he had written for Black Flag with him and record them for DC3's debut album.

Additionally, by late 1983, Dukowski had retired from performing with Black Flag (some accounts report he was "edged out" by Ginn[12]); Azerrad reports that Ginn was dissatisfied with Dukowski's failure to progress as an instrumentalist, and made things difficult for Dukowski in an attempt to make him quit, but in the end, Rollins took it on himself to fire Dukowski.[13] However, a few of Dukowski's songs were featured on later albums, and he continued acting in his capacity as tour manager.

1983 found Black Flag with fresh songs and a new direction, but without a bass player, and embroiled in a legal dispute over distribution due to SST's issuing Damaged (Ginn argued that since MCA was no longer involved, the Unicorn deal was not legally binding, while Unicorn disagreed and sued SST and Black Flag). Until the matter was sorted out, the band were prevented by a court injunction from using the name "Black Flag" on any recordings. They released a compilation record, Everything Went Black, which was credited to the individual musicians, not "Black Flag". In fact, wherever the original album artwork had the words "Black Flag", they had been covered up with small slips of paper, thus adhering to the letter of the law.

After Unicorn Records declared bankruptcy, Black Flag were released from the injunction, and returned with a vengeance, starting with the release of My War. The album was both a continuation of Damaged, and a vast leap forward. While the general mood and lyrics continue in the confrontational and emotional tone of Damaged, and the album would prove influential to grunge music as the decade progressed. Lacking a bass player, Ginn played bass guitar, using the pseudonym Dale Nixon. On the May 1, 2007 episode of his radio program Harmony in My Head, Rollins reported that one of Ginn's favorite albums during this era was Mahavishnu Orchestra's Birds of Fire (1973), and opined that John McLaughlin's guitar work influenced Ginn.

Freed legally to release albums, Black Flag was re-energized and ready to continue full steam ahead. The band recruited bassist Kira Roessler (sister of punk keyboardist Paul Roessler, of 45 Grave) to replace Dukowski, and began its most prolific period. With Roessler, Black Flag had arguably found their best bassist. Dukowski was a powerful player, but Roessler brought a level of sophistication and finesse to match Ginn's increasingly ambitious music, without sacrificing any of the visceral impact required for punk rock.

1984 saw Black Flag (and the SST label) at their most ambitious. This year they would release three full-length albums, and toured nearly constantly, with Rollins noting 178 performances for the year, and about that many for 1985. With Dukowski gone, Ginn ceded much of the spotlight to Rollins, who had expressed some discomfort[14] over being the group's de facto spokesman, while Ginn was the recognized leader (Ginn wrote the majority of the group's songs and lyrics).

With Roessler on board, Black Flag began earnest experimentation, sometimes to critical and audience disdain: One critic writes that Slip It In "blurs the line between moronic punk and moronic metal";[5] another writes My War is "a pretentious mess of a record with a totally worthless second side."[15] Rollins reports that Black Flag's set-lists in this era rarely included older crowd favorites like "Six Pack" or "Nervous Breakdown", and that audiences were often irritated by the new, slower Black Flag. Violence against the band (and especially Rollins) was ever-present, although the vocalist was now an avid weight lifter, and more than able to defend himself. Furthermore, to Rollins' chagrin, Ginn's interest in marijuana steadily increased; as Rollins put it, "By '86 it was 'Cannot separate the man from his Anvil case with a big-ass stash.'"[16] Despite the initial resistance to the new music and quasi-psychedelic direction, My War would later be cited as a formative influence on grunge. The band would continue to evolve toward a more heavy metal sound, with 1985's Loose Nut featuring more polished production.

Later period and break up

Despite 1984-85 being the most fruitful period for the band and their record label, Ginn and Rollins would ultimately decide to eject Roessler from Black Flag, citing erratic behavior. It has also been suggested that Ginn's accommodating Roessler's college schedule created tension in the band. Her absence, and the lack of a steady drummer (Stevenson quit and was replaced by Anthony Martinez), contributed to the comparatively weak reputation of the last few Black Flag tours. However, the live album Who's Got the 10½? shows the evolving line-up, with Kira and drummer Martinez, to be a powerful and entertaining unit.

By 1986, Black Flag's members had grown tired of the tensions of their relentless touring schedule, infighting, and of living in near-poverty. The band had been together almost a decade, and true commercial success and stability had eluded them. The band's erratic artistic changes were a barrier to their retaining an audience - Ginn was so creatively restless that Black Flag's albums were often very dissimilar. At one point, Rollins apparently said, "Why don't we make a record that was like the last one so people won't always be trying to catch up with what we're doing?"[17] The next album, In My Head, with its powerful bluesy proto-grunge-metal, did seem to finally be a cohesive follow-up to their previous album Loose Nut, but it would be their last.

Black Flag played their last concert on June 27, 1986, in Detroit, Michigan. In Get in the Van, Rollins wrote that Ginn telephoned him in August 1986: "He told me he was quitting the band. I thought that was strange considering it was his band and all. So in one short phone call, it was all over."

Post-Black Flag

Since Black Flag's break-up, Rollins has had the most visible public profile as a musician, writer, and actor. Most Black Flag members have also remained active in music, especially Ginn, who continued playing with bands such as Gone, October Faction, and Screw Radio, and Stevenson, who continued on with the Descendents, All, Only Crime, and the reformed Lemonheads. Kira Roessler continues to record and perform with the band DOS, a duet with ex-husband and Minutemen bassist Mike Watt.

In September 2003, Black Flag played three reunion shows, two at the Hollywood Palladium and one at Alex's Bar in Long Beach, California, to benefit cat rescue organizations (a current passion of Ginn's). The line-up for the shows was Dez Cadena on vocals, Greg Ginn on guitar, Robo on drums, and C'el Revuelta on bass. Professional skateboarder and singer Mike Vallely also sang all the songs from My War at these shows.

On July 14, 2010, in celebration of Ron Reyes's 50th birthday, Greg Ginn and Reyes played a set of three Black Flag songs together in addition to his own set with the Ron Reyes Band.[18]

Left to right: Stephen Egerton, Keith Morris, Bill Stevenson, and Chuck Dukowski performing as Black Flag at the GV30 show in December 2011

On December 18, 2011, Keith Morris, Chuck Dukowski, Bill Stevenson, and the Descendents' Stephen Egerton played the Nervous Breakdown EP in its entirety for the Goldenvoice 30th anniversary show called GV 30. This surprise gig at the Santa Monica Civic Auditorium took place between sets by the Vandals and the Descendents.[19]

Legacy

Throughout their ten-year career as a band, Black Flag’s experiences became legendary, especially in the Southern California area. Much of the band’s history is chronicled in Henry Rollins’ own published tour diary Get in the Van. Black Flag were reportedly blacklisted by the LAPD and Hollywood rock clubs because of the destructiveness of their fans, though Rollins has claimed that police caused far more problems than they solved.

SST Records, an independent American record label that was initially founded to release Black Flag’s debut single, released recordings by influential bands such as Bad Brains, The Minutemen, Descendents, Meat Puppets, and Hüsker Dü. As well, SST released some albums by Negativland, Soundgarden, and, for a short period, Sonic Youth.

Black Flag's career is chronicled in Our Band Could Be Your Life, a study of several important American underground rock bands. Many members of the grunge scene cited Black Flag's My War album as being influential in their departure from the standard punk model. Steve Turner of Mudhoney stated in an interview, "A lot of other people around the country hated the fact that Black Flag slowed down ... but up here it was really great — we were like 'Yay!' They were weird and fucked-up sounding."[20]

Red Hot Chili Peppers bassist Flea has a Black Flag decal on one of his signature Modulus bass guitars, and guitarist John Frusciante has cited Greg Ginn as one of his early influences as a guitar player.[21]

British acoustic artist and punk rocker Frank Turner has a Black Flag icon tattoo on his wrist and cites the band as one of his primary inspirations, particularly in regards to their work ethic.[22][23] With Million Dead, if anything went wrong with their tour, Turner said they would "Think Black Flag."[23]

Vocalist Maynard James Keenan of the bands Tool and A Perfect Circle, has described seeing Black Flag perform in the '80s as a young punk rocker in Grand Rapids, Michigan, as a "revelatory and life-changing" experience. A Perfect Circle also covered the Black Flag song "Gimmie Gimmie Gimmie" on their Emotive album.[24]

Punk band Rise Against portrayed Black Flag in the 2005 Lords of Dogtown film, and their cover of "Nervous Breakdown" is on the Lords of Dogtown soundtrack. Rise Against also does a cover of the Black Flag song "Fix Me" in the video game Tony Hawk's American Wasteland.

Initial Records released a Black Flag cover album in 2002 (re-released with additional tracks in 2006 by ReIgnition Recordings), Black on Black: A Tribute to Black Flag. The compilation features 15 hardcore and metalcore bands — including Most Precious Blood, Converge, The Dillinger Escape Plan, American Nightmare, Drowningman, and Coalesce.[25]

Iconography

The band's logo was created by artist Raymond Pettibon to symbolize their themes of rebellion and anarchy. As the band gained popularity the logo was graffitied in and around Los Angeles, drawing the attention of the police to the band's activities.[26]

Black Flag's visual imagery and artwork complemented the themes found in the band's music. Greg Ginn's brother Raymond Ginn, under the pseudonym Raymond Pettibon, created the artwork for all of the band's studio releases with the exceptions of Damaged and the "TV Party" single, as well as providing artwork for the band members to transform into merchandise and gig flyers.[27] When the band found it necessary to change their name from Panic in 1977, it was Pettibon who suggested the new name Black Flag and designed their iconic logo: four vertical black rectangles comprising a stylized rippling black flag. The logo evoked a number of meanings: it was the polar opposite of a white flag of surrender, as well as a symbol for anarchism and a traditional emblem of pirates.[28] As the band gained popularity the logo was graffitied on numerous highway overpasses and other public and private surfaces in and around Los Angeles, drawing the attention of the authorities and contributing to an increase in police presence at Black Flag shows.[26]

Pettibon's artwork for the band's albums and flyers was equally stark and confrontational. He typically worked in one panel using only pen and ink, so the message conveyed had to be direct and powerful due to lack of space and color.[27] According to Michael Azerrad in Our Band Could Be Your Life, the artwork "was a perfect visual analogue to the music it promoted – gritty, stark, violent, smart, provocative, and utterly American."[27] It also provided a cerebral aspect to the band's image: as the mainstream media caricatured Black Flag as a mindlessly aggressive act, the pairing of their music with high-concept artwork hinted at a greater intelligence at work that was unknown to outsiders.[27] Henry Rollins, in his journal collection Get in the Van, notes that Pettibon's artwork became synonymous with Black Flag and that before Rollins joined the band he would collect photocopies of their flyers that had circulated from California to Washington D.C.[29] The album cover for Nervous Breakdown had a particularly strong impact on Rollins: "The record's cover art said it all. A man with his back to the wall baring his fists. In front of him another man fending him off with a chair. I felt like the guy with his fists up every day of my life."[30] Another image which drew considerable attention was the artwork created for the "Police Story" single, showing a police officer being held with a gun in his mouth with the speech blurb "Make me come, faggot!" The image was plastered on flyers all around Los Angeles and added to the police pressure on the band.[26] Pettibon later remarked that "my values are relativistic, and I’ll give a cop the benefit of the doubt. If that’s me with my gat – my gat’s larger than the one depicted – we can have a discussion, and he can answer me just as well with my .357 barrel in his mouth, or on his cheek, or on his adenoids, or down his throat. I’ll listen to his whimpering cries."[31] After joining the band Rollins would sometimes watch Pettibon draw, admiring his work ethic and the fact that he did not make telephone calls or sit for interviews.[32] The drawings themselves rarely bore a direct connection to the music or its lyrical themes. Pettibon himself recalls that "These drawings just represented what I was thinking. Except for a few instances, the flyers weren't done as commercial art or advertising. You could have stuck anything on a photocopy machine and put the band name and made an advertising flyer, but these weren't done like that. I was vehement about that as much as my personality allowed."[33] Pettibon also sold pamphlet books of his work through SST, with titles such as Tripping Corpse, New Wave of Violence, and The Bible, the Bottle, and the Bomb, and did artwork for other SST acts such as the Minutemen.[27]

Pettibon's drawing of a police officer being held at gunpoint was used on flyers and merchandise promoting the "Police Story" single. The speech blurb reads "Make me come, faggot!" The text to the left reads "Art: Chuck Higby", a pseudonym.[26]

In order to adapt Pettibon's artwork to meet the layout requirements of their albums and flyers, the members of Black Flag would alter it by cutting and pasting and adding their name, logo, and gig details to it. They would then make photocopies and put up dozens of flyers to promote their shows. Rollins recalls going out on a flyering mission with roadie Mugger in 1981 in which the pair would put a layer of paste onto a telephone pole, stick up the flyer, and then cover it with an additional coat of paste so that it would last for up to a year. The band members and their crew would do this for miles around, using dozens of flyers to promote a single performance.[34] Pettibon, however, did not always appreciate the band's treatment of his art, which he provided to them largely for free.[35] "To me my work was the equivalent of a band like Black Flag or any other band who was righteously self-protective of recordings. I would give them original art and it would come back to me scrawled upon and taped over or whited out, and I'd always ask nicely, 'Could you please make a copy of this first and then do that?' Their master tapes were deemed sacrosanct, while my work was seen as completely disposable, but I'm not venting or complaining, just stating fact."[33] Pettibon also felt pigeonholed by his association with the band, and had a falling out with them in 1985 over artwork used on the cover of the Loose Nut album, which had been used for a flyer several years earlier. Ginn resurrected it without telling his brother and turned it over to drummer Bill Stevenson to do the layout, who cut it into pieces and used them as elements for the cover and lyric sheet. Pettibon became irate and he and Ginn stopped speaking for some time, though his artwork continued to be used for the remainder of the band's career.[35]

Tattoos of the Black Flag logo have become widespread since its creation.[36] In 2009, a project entitled Barred for Life was started by a Philadelphia based group to photograph people with Black Flag tattoos for an upcoming book.[36][37]

Members

Vocalists

Bassists

Guitarists

Drummers

Discography

Studio albums

Bibliography

References

  1. ^ a b c Grad, David. "Fade to Black." Spin. July 1997
  2. ^ Azerrad, Michael. Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991. Little Brown and Company, 2001. ISBN 0-316-78753-1, p. 19.
  3. ^ "A 12-Step Program in Self-Reliance". LA Weekly. Retrieved May 27, 2006.
  4. ^ a b "Song review - TV Party". Allmusic. Retrieved May 27, 2006.
  5. ^ a b "Black Flag". TrouserPress.com. Retrieved May 27, 2006.
  6. ^ "Black Flag - the first five years". MOJO magazine. Archived from the original on 2009-01-22. Retrieved September 17, 2011.
  7. ^ "American Hardcore." Dir. Paul Rachman. AHC Productions LLC, 2006. Film.
  8. ^ Dougan, John. "Review: Damaged". Allmusic. Retrieved 1 January 2011.
  9. ^ "Black Flag". Sounds magazine. Retrieved May 27, 2006.
  10. ^ Carducci, Joe, Rock & the Pop Narcotic; 2.13.61 Publications, 1995, ISBN 978-1-880985-11-3
  11. ^ Erlewine, Stephen Thomas. "Black Flag". Allmusic. Retrieved 8 January 2011.
  12. ^ "Band line-ups". The Mighty Black Flag. Retrieved May 27, 2006.
  13. ^ Azerrad, 41.
  14. ^ see the track "Henry" from the spoken word compilation double album "English As a Second Language" (1984)
  15. ^ "Review - My War". Allmusic. Retrieved May 27, 2006.
  16. ^ Azerrad, 58.
  17. ^ Azerrad, 59.
  18. ^ Beadle, Scott. "Ron Reyes 50th Birthday Celebration with the Jolts, Ron Reyes Band, Modernettes, Little Guitar Army, and I Braineater - Rickshaw Theatre (Vancouver BC), July 24, 2010". The Big Takeover. Retrieved 11 December 2010.
  19. ^ Cabral, Javier (2011-12-19). "GV30: Black Flag, Descendents, the Vandals - Santa Monica Civic Auditorium - 12/18/11 - Los Angeles Music - West Coast Sound". Blogs.laweekly.com. Retrieved 2012-02-21.
  20. ^ Azerrad, 419.
  21. ^ "The New Guitar Gods". Rolling Stone. Retrieved 2008-02-07. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  22. ^ Moore, Rebecca (October 16, 2008). "Frank Turner". The List (magazine). {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  23. ^ a b Turner, Frank (August, 2008). "Frank Turner: Think Black Flag". Rock Louder. {{cite news}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  24. ^ "Toe to Toe with Maynard and Hank". RIP Magazine. Retrieved 2010-03-08. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  25. ^ Monger, Christopher. "Black on Black: A Tribute to Black Flag (2006)". Allmusic. Retrieved 11 December 2010.
  26. ^ a b c d Azerrad, 21.
  27. ^ a b c d e Azerrad, 51.
  28. ^ Azerrad, 19.
  29. ^ Rollins, Get in the Van, 3.
  30. ^ Rollins, Get in the Van, 9.
  31. ^ Penalty, Jeff (2008). "Raymond Pettibon". Swindle. Retrieved 2008-02-10. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)
  32. ^ Rollins, Get in the Van, 173.
  33. ^ a b Spitz, Mark (2001). We Got the Neutron Bomb: The Untold Story of L.A. Punk. New York: Three Rivers Press. pp. 198–199. ISBN 0609807749. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  34. ^ Rollins, Get in the Van, 21.
  35. ^ a b Azerrad, 54.
  36. ^ a b Cooper, Ryan (April 6, 2009). "Barred For Life - Recognizing the faithful followers of the Flag". about.com. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  37. ^ Gross, Dan (April 2, 2009). "They'll picture Black Flag tattoos". Philadelphia Daily News. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)