The Guiding Principles of Fugazi

If Michael Jordan was bigger than basketball and Anthony Bourdain was bigger than food, Fugazi was certainly bigger than music.

If you don't know the band from their music, you may know them from the myriad of rules and guidelines they lived by: all-age shows, no set-lists, inexpensive concert tickets (usually $5, if not free), policing their own shows, and performing at unpopular venues, to name a few. They upheld a standard for not being bound by convention and always sticking to their guns, regardless of the dollar signs.

I discovered Fugazi when hearing a cover of their song, "Latest Disgrace"—a dissonant track off their "either-this-record-makes-you-a-fan-or-it-doesn't-make-you-a-fan" album, Red Medicine. This all occurred while I was in high school, a place where adherence to conformity is de facto practice and those who opposed became pariahs. I didn't participate in any cliques as I had objections to modifying my own character to appease the social standards that others desired. In other words, I also stuck to my guns, but it wasn't until college when I listened to more of Fugazi's work, and eventually, my worldview became increasingly influenced by not just their music but their ethics as well.

In this article, I share an abundance of quotes I've collected across magazine interviews, videos, online articles, and books that encapsulate the principles embraced (excuse the pun!) by Fugazi. I use my comments throughout this article as glue for the quotes and to articulate how these principles are a brilliant guide for morality, ethics, and just being an upstanding dude.

Note 1: Naturally, considering the breadth and depth of their integrity and how confidently they ignored popular conventions, this list is reductive. However, the ultimate theme is the same—they lived solely by their own terms, never shrinking from confrontation nor afraid of subverting the status quo.

Note 2: For ease of reading, I use last names for quotes of individuals I already introduced, and I use a key to refer to the quotes' sources. The key can be found at the bottom of the article.

Forget About the Cost. Do the Right Thing.

"... it was an ethic that had existed since the early 80s - not just to play the big towns, but to play EVERY town." – Ian MacKaye, A

There's a scene in the Fugazi documentary Instrument in which co-frontman MacKaye mentions to the band and crew that the tickets to go to Alaska are $550 each. When one of them asks who's paying for the tickets, MacKaye succinctly replies, "We are—period."

You would not be mistaken to think that this is completely antithetical to the typical American touring that most popular bands would subscribe to. The usual suspects for such a tour would include New York City, Boston, Los Angeles, San Francisco, Austin, Nashville, Chicago, Atlanta, Miami, Denver, D.C., and Seattle. (If it's a North American tour, include Vancouver, Toronto, and Mexico City.) Besides that, the band may tag along a handful of slightly smaller cities (Louisville, Indianapolis, Detroit, etc.), collect the dough, and move on. But Fugazi was not your typical band, so needless to say, they didn't subscribe to the typical schedule.

Instead, they made a point to "carefully [route] tours through smaller towns and countries they had not visited before" which often included small towns that touring acts would overlook (Q). Besides there not being many people at the shows (considering the population size of the towns they played) and the fact that the band only charged $5 per ticket, they would have to make up for the traveling costs themselves. (If you're wondering, "why $5?," don't worry. We'll get to that later.) But the most important thing about this is that the cost didn't matter. They wanted to ensure that live music was accessible not just to those near music venues but, more importantly, to those far from them. What did this look like? The band's live music career consisted of "1,048 shows in 372 cities, on 5 continents, and in all 50 U.S. States" (Q).

Joe Gross, author of the 33⅓ series book In on the Kill Taker, articulated their focus on accessibility, with additional mention of alternative venue choices.

"Fugazi emphasized accessibility: Fugazi shows were famously $5 a ticket and they never played venues that weren't all ages, performing in/played in non-bars (art galleries, DIY performance spaces) whenever possible." – Gross, C

Gross mentions that the band never played shows that didn't accommodate all ages. This is rather unusual given that venues make more money with alcohol sales and may split the revenue with the performing artists. For this reason, most artists tend to accept this arrangement and will accommodate their bookings to allow for this. Fugazi, on the other hand, took exception to this, and co-frontman Guy Picciotto articulates it on a personal level.

"One of those things you're conscious of is you want to be able to get into the show. In D.C. when there was bars and stuff like that and you weren't allowed in the show, it used to drive me crazy. Bands would come from England that I loved and I was so curious to see and then you weren't allowed into the gig. It would drive us insane." – Picciotto, N

Picciotto highlights a feeling many (including myself) have experienced at some point growing up—the often trivial nature of restrictions and the frustration with having to deal with them. His way of channeling something deeply rooted and making an effort to manifest change regarding it is inspiring and hopeful. Of course, MacKaye believed in this principle too, albeit he had a more direct way of verbalizing the idea.

"Everyone has to be able to come in." / "We don't play shows that discriminate against people." – MacKaye, B

This measure from the band upholds "principle-before-pay" as an attitude selected not out of convenience but out of better servitude to others and even to our past selves.

Take Accountability. Keep Your Promises.

"Personal purifying is the beginning of everything." / "Once you get your own shit together, once you get your own mind together, it makes life for you and the people around you so much more agreeable and understandable as opposed to constant fucking problems." – MacKaye, B

While in Minor Threat, MacKaye wrote the song "Straight Edge," which was a commentary on not needing alcohol, tobacco products, or drugs to be entertained or go about one's life. In doing so, the abstinent individual has an "edge" on other people, being more in control of his surroundings. This later came to haunt MacKaye's image, which he also saw as ironic.

"When people see me, they see all this baggage — straightedge this, straightedge that. 'Straightedge' was one song among many others. It had some pretty important points, mainly saying take responsibility for your life. But it was just a song; it was never intended to be a movement." – MacKaye, P

"The irony is, what a lot of people think of me as, such as I'm not into drugs, they see that as being really straight, but I see it as being really deviant." – MacKaye, E

Although MacKaye didn't intend to start a strict sober movement (and has tried distancing himself from the movement), the song's adamance about taking accountability for one's actions carried over into MacKaye's later work in Fugazi.

One way in which this sense of accountability was manifested was in the band's work ethic: practicing "between four and six hours a day, four days a week" (J). Why the strenuous schedule? The band performed live with no set list. Ever.

This meant on any given gig the band could look at each other between songs to give a quick cue for what song to play next, which could be any one of many dozens of songs they released. Having been well-rehearsed, the band took significant ownership of themselves, rarely dropping the ball on any performance.

But their accountability didn't just stop with their actions; it extended to their words.

"From those first public performances to the start of their indefinite hiatus in 2003, Fugazi kept every promise they ever made." – Gross, C

"Until this day, Fugazi is so hardcore about its touring, like if we say we're going to play somewhere we do." – MacKaye, E

In addition to staying true to their touring schedule, they pushed back on any venues that didn't comply with their agreed upon terms, refusing to play if necessary. They took their stances on age-inclusive shows seriously (as previously mentioned in this article) and made every effort to ensure their audience members' safety (which will later be mentioned too). Ultimately, being impeccable with their word wasn't an option; they deemed it absolutely necessary.

You Are Not What You Own. Do With What You Have.

"'Repeater' is practically a concept album about the notion that one can [affect] social change by carefully considering the things one buys—and Fugazi extended that idea well beyond the material sense." – Michael Azerrad, F

Repeater's "Merchandise" is one of Fugazi's quintessential tracks and contains the strongest anti-consumerist sentiments: "When we have nothing left to give / There will be no reason for us to live / We owe you nothing / You have no control / You are not what you own." This is then extended on the following track, "Blueprint," where we encounter the lines "Never mind what's been sellin' / It's what you're buyin'," recapitulating the notion that one's purchasing behavior has political effect.

Fugazi's comments on not needing more possessions and not being defined by what one owns are particularly refreshing in today's increasingly hyper-consumerist culture. Many also associate this sentiment with the band's decision to not produce or sell any merchandise themselves, although—in Picciotto's words as shared in a 2018 Double J interview—this was mainly because they were never "interested in lugging stuff on the road." Picciotto continues, "It started as just a matter of convenience, but the more reaction we got against it, the more perversely steadfast we became about refusing to do it." Classic Fugazi.

Similarly, MacKaye's past job at a vinyl record store informed some of his belief in the pernicious nature of the physical medium.

"So, in the same way there's just so much stuff now, it was a really discouraging thing to work in a record store on that level, because it started to stick out that what I was doing was completely insane. Adding more stupid plastic to the world." – MacKaye, G

MacKaye also applied this to releases from Dischord (his record label), stating—

"I'd love to put all that stuff out, but there's another aspect to it. I have to feel there's a real interest in it. Because I'm not inclined to create more piles of plastic." – MacKaye, E

The notion of deliberation towards physical production is particularly noteworthy considering how the typical corporate modus operandi is (1) make something (regardless of quality) and (2) market the hell out of it. But MacKaye's thoughtfulness in reflecting and questioning the consumer's real interest is a measure that can also be applied to ourselves as the consumers. His deliberate use of the word real makes for an interesting interpretation: do we really want something or are we conditioned to believe that we want something due to advertising, perceived social status, peer conformity, or otherwise?

Throughout Fugazi's journey, we also saw their resourcefulness in using what was available to them.

"If Walden author Henry David Thoreau were to have managed a rock band, it probably would have been run a lot like Fugazi." – Azerrad, F

Unlike most musicians of their stature or popularity, they opted to play the same equipment throughout their entire history, which almost exclusively entailed a direct "instrument-to-amp" set-up. By maintaining a minimal set-up, they were able to handle all of their own equipment either by themselves or with the additional help of one roadie. More importantly, it also meant that their creativity existed in experimentation rather than on a reliance of shiny gadgets.

Speaking of experimentation, they scrutinized not just how to use their equipment musically but also how to solve problems in transporting the equipment for gigs.

"The thing with us and how we do our business is to try and come up with seemingly obvious solutions to problems. I mean why not ship everything instead of renting a backline? Everyone always just goes and rents backlines—it costs twice as much!" – MacKaye, H

In typical Fugazi fashion, the band found a way to reduce their costs by neglecting the status quo and making do with what they had.

Exist on Your Own Terms. Never Compromise.

"We exist on our own terms." – MacKaye, G

When Fugazi was approached by Rolling Stone for an interview, they asked whether the magazine would be able to print an issue without any alcohol or tobacco product advertisements. After being told that this wouldn't be possible, they simply declined the interview.

"The power of 'No', man, that's the biggest bat we've ever wielded." – Picciotto, B

And boy, did they swing that bat. Lollapalooza inviting them to perform but refusing to lower ticket prices? Licensing their music for advertisements, movies, or TV? Record labels attempting to sign them? You already know their answer.

"We don't bend at all, ever." – MacKaye, H

And why?

"It just seems very liberating not to have to worry about it. It's consistent with a lot of the aspects of this band. We just don't do things.... Because we don't do it, we're so freed up, we don't have to worry about it." – MacKaye, G

And "worry about it," they did not. By refusing to relinquish control or participate in anything they didn't completely agree with, they were able to rid themselves of any derivative judgments or perceived affiliations. If you don't like them, it's because you don't like them—not because you don't like who/what they may have been associated with.

"The thing is to keep working at it, because whatever should be sparking, it should be your own desire, not what is reflected back on you or whether people support it or not." – Picciotto, I

"It wasn't OK that people were going to not recognize something I was doing because it didn't fit their definition of something. I've always had a taste for the unorthodox I guess." – MacKaye, H

Needless to say, they were most intentional about living by their own terms and choosing to reflect no one and nothing else in the process. If the expression "compromise knows no victory" is true, no band was more victorious than Fugazi.

Take Matters Into Your Own Hands. Lead by Example.

"They took issue with moshing at their shows, believing it to be a boring expression of violence that made things worse for everyone at their show. Fugazi never had venue security at their show. MacKaye and Picciotto would 'police' the crowd themselves, stopping the show if people were getting too rough." – @TrashTheory, J

"Whether it's being outspoken about social injustice or about someone's violent dancing at a show, the band takes a stance and sticks to it. As a result detractors say Fugazi is 'preachy.' But Fugazi doesn't preach, it leads by example." – Dan Sinker, H

This, as MacKaye would describe, was itself an act of rebellion.

"I've read things with people saying, 'oh he just heckles the audience the whole time.' They don't understand that it was a reaction to the environment. I think when people go to punk shows today they don't have any idea what those shows were like." – MacKaye, K

At times, Fugazi would also look for more creative approaches to resolving aggressive crowds.

"After stopping several times because of crowd fights during a 1995 show in Peoria, Illinois, the band requested the audience all sit down and allow the guys causing problems to mosh by themselves until they grew uncomfortable and left." – Mason Adams, O

This reputation for confronting violent audiences opened up debate about whether their demand for control was—ironically—authoritarian. Their perspective saw otherwise.

"We had a lot of people think we were police, that we were acting like cops, 'they're trying to tell us what to do', but to me that just reveals the entitlement of a very small segment of people who think what they want to do should dictate the entire environment of a room. When you have four or five men dictating a room of hundreds of people, you end up in a situation that makes no sense. So, we just did our best not to be a soundtrack to that." – Picciotto, N

"Dedicated to policing violence in crowds without (and this cannot be emphasized enough) the use of outside security or bouncers, MacKaye, and the band in general, had gained an ill-deserved reputation as a humorless scolds. This was not the case." – Gross, C

So what did their policing look like then?

"Instead of wading in and meeting violence with violence, they would frequently use kindness and humor to pacify the situation." – @TrashTheory, J

"See, they have only one form of communication: violence." / "So to disorient them, you don't give them violence." – MacKaye, B

"'Please do not jump off the stage as there is no stage to jump off.' Things get stickier. 'If I see you up here one more time I'm going to take off this guitar and feed it to you.'" – Specific band member unknown, L

I surmise that the third quote is from Picciotto and was used more as a reflection of the audience rather than a legitimate threat.

That said, policing their own shows wasn't the only way they took matters into their own hands. They wanted shows to be really accessible to the public, which (besides the all-ages shows) meant affordable ticket prices. Fugazi strived to make tickets only $5, if not free. In addition to opening the door for more people to attend their concerts, it also gave the band more leeway.

"There's a lot of reasons for that. One is that we don't particularly want to pay more than five [dollars] to see a band. I always feel shitty when I have to lay out a lot of dough, because then I want that to entertain my ass. And that's the other side. For five bucks we could suck. Because we are human and we do suck sometimes." – MacKaye, M

Damn that's honest.

What impressed me even more was their ability to take matters into their own hands when things went south. They (just about literally) put their money where their mouths were.

"We always had an envelope with $5 bills onstage. And there was like a show in Olympia where these skinhead guys were going crazy, and I said, 'You know what? Time for refunds.' And I got off the stage and I led a dozen guys out to the lobby and gave them $5 each and let them out the door. It's just not worth it! It's not worth 60 bucks! The show was so much better after they left. But in our society, the way we have a consumer mindset, the consumer is always right. The customer is always right, so therefore they think that by paying $5, they get to call the shots. Well fuck that, the $5 is just the turn of the key! We're just trying to make the gig happen! They don't get to call the shots. We collectively call the shots, and I'm at that show too." – MacKaye, A

"Every jackass with a five-dollar bill can come to your show and it creates a very volatile mix. A very fizzy environment, a spicy environment. It made things very interesting and it made you have to work." – Picciotto, N

And work they did—not just for themselves but for the audience that wanted to be there, celebrate the music, and embrace the values shared by Fugazi.

To wrap up this article, I'll leave you with a few significant quotes that didn't quite fit anywhere else but are nonetheless noteworthy. The first two make reference to Greek-American filmmaker John Cassavetes. The last quote is a succinct, egalitarian, and—most importantly—fitting final remark.

"People always talk about the sacrifices involved in doing things the way he did them and by extension the way we did them while ignoring the opportunities and the creative license and freedoms that are gained. To my mind the sacrifices seem negligible when you see the pay-off in his work." – Picciotto, D

"Which makes him the perfect Fugazi topic—devotion to an art on his terms, independence from the larger machinery, unwillingness to compromise his particular set of ethics. It's amazing they didn't get to it earlier." – Gross, C

"It's not about, 'To the glory of Dischord.' It's more about just to the glory of people who are willing to do something that isn't just about making money. It's about making art, making music, and making a community." – MacKaye, E

"Really, the ultimate concept is we are human beings just the same as anyone else." – Picciotto, B

👊

Sources

A – Ian MacKaye - 2009, markprindle.com (2009)
B – Quote found in Our Band Could Be Your Life by Michael Azerrad (2001)
C – In on the Kill Taker by Joe Gross (2018)
D – Quote found in In on the Kill Taker by Joe Gross (2001)
E – Left of the Dial Issue #1 (2001)
F – Our Band Could Be Your Life by Michael Azerrad (2001)
G – The Big Takeover Issue #43 (1998)
H – Punk Planet Issue #31 (May/June 1999)
I – Fluke Issue #1 (1990)
J – Fugazi: The Path of Most Resistance, YouTube (September 25, 2019)
K – Loud and Quiet (May 2015)
L – Puncture Issue #30 (Summer 1994)
M – Spin Magazine (September 1991)
N – Fugazi: the past, the future and the ethos that drove them, Double J (May 25, 2018)
O – Why Fugazi's Politics Are as Frighteningly Relevant Today as They Were in 1988, vice.com (March 7, 2015)
P – Option Issue #41 (November/December 1991)
Q – Visualizing the History of Fugazi by Carni Klirs