Rock Artists Drawn

Minor Threats

With his shaved head, bare chest, and the lurching, incantatory presence of an escaped mental patient gone defiantly off his meds, the punk rock singer Ian MacKaye made it impossible to look away from the moment he appeared on stage. The simple chords and direct lyrics of the songs that he wrote and sang for Minor Threat , the hardcore punk band he formed in 1980, plunged his audiences into a sea of roiling emotions while assuring them that they were not alone. Along with his friend Henry Rollins of Black Flag, MacKaye furiously rejected the stale and bloated sounds, emotional passivity, and the self-destructive ethos of 1970s rock ‘n’ roll in favor of the communal experience of music in which opposing poles of emotion were brought together in a chaotic, frenzied experience of something that sounded and felt entirely new—angry and caring, simple and emotionally complex.

Setting off small rooms of sweaty teenagers in Washington, New York, Philadelphia, Boston, and other cities that would tolerate punk and the increasing violence of the scene, MacKaye was part angry adolescent and part caring older brother. He used songs like “ Good Guys (don’t wear white) ,” “ No Reason ,” and “ Filler ” to teach his followers to feel and express their emotions directly, to make art and meaning out of whatever materials were at hand. Railing against smoking, drinking, doing drugs, and other corporate-promoted self-destructive behaviors, MacKaye set himself apart from decadent punk progenitors like the Sex Pistols and created the musical sub-genre known as straight-edge punk. After Minor Threat disbanded in 1983, MacKaye formed the legendary 1990s indie rock band Fugazi , which blended poppy hooks with MacKaye’s emotional directness and a DIY ethos on hits like “ Waiting Room ” and “ Song #1 .”

MacKaye’s heightened awareness of the importance of music and ritual as expressions of the values that shape communities and hold them together are products of both the D.C. punk scene and of growing up in a family highly engaged with organized religion: MacKaye went to church every Sunday, and his father was the religion editor of the Washington Post . I attended one of the final Minor Threat shows, in Philadelphia in the summer of 1983, as a 16-year-old yeshiva student, and it rewired my brain in ways that continue to deeply affect my life. A few months ago, I went to Washington to meet MacKaye—who is now the father of a young son and the head of his own record label, Dischord —and talk about the energy I’d felt in that room when I was 16, where it came from, and what it meant to me and thousands of other adolescents yearning at once to escape and be on their own and to be told that they were OK. We spent an afternoon talking, drinking tea, eating whole-wheat toast with honey, and talking about music and other things that matter. What follows is an edited version of our conversation.