Most American band ever might surprise you

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As I delved into the captivating tale of Beat Happening, it struck a chord within me – not just because of their unique, authentic sound that defied convention, but also due to the indomitable spirit they embodied. Their story resonated with my own journey as an individual who’s always been drawn to the unconventional paths less traveled.

The topic revolves around a little-known band hailing from a secluded town up in the northwestern corner of the country. While it might be misleading to call them “mostly forgotten,” as many music enthusiasts may not have encountered Beat Happening in the first place, it’s challenging to forget a band that never truly made it into mainstream consciousness. However, despite their obscurity, the trio exerted an influential force on independent music through their live performances and Calvin Johnson’s label, which he established during his time as a student at Evergreen State College in Olympia, Washington. This label played a significant role in shaping the indie music scene.

As a passionate gamer and music enthusiast, let me share my perspective: Among all American rock & roll bands, Beat Happening stands out as the most authentic to me. After all, isn’t discovering the real deal what gaming and music are all about?

Beat Happening might be a surprising choice for the most American band ever

To begin, let’s discuss the concept of regionalism. Originalists argue that the United States is not an unadulterated democracy; instead, it’s a republic designed to prioritize the rights of local regions – the states – over those of the central government. Over time, we may have drifted away from this idea, but it was a fundamental aspect of our nation’s founding principles.

Beat Happening, a band deeply rooted in their locale, primarily hailed from Olympia, Washington, rather than Seattle – a city that’s more well-known. Olympia is the small-town capital of the state, with under 60,000 residents. Calvin Johnson, the founder and lead vocalist of Beat Happening, was a native of this town. Bret Lunsford, the guitarist, was from an even smaller northwest city – Anacortes, a fishing village located a few hours up the coast from Olympia. Heather Lewis, the drummer and backup singer, may have originated from Westchester County, New York, but she didn’t find her musical calling until she attended Evergreen State College in Olympia and crossed paths with Johnson.

Instead of imitating the styles of other regions, Beat Happing purposefully avoided replicating them. They were indeed influenced by what they enjoyed, like any band. However, they never aimed to mimic. Moreover, Calvin Johnson, the founder of K Records, didn’t force the international bands he signed to alter their sound based on current trends. Instead, Beat Happing championed regional diversity in music.

George Washington’s caution against foreign entanglements in his farewell address of 1796 should not be misunderstood as advocating for isolationism or a strictly regional approach. Instead, his advice was given within the context of a revolution that had relied on aid from foreign nations. His primary concern was about establishing enduring alliances, not advocating for complete withdrawal from global affairs.

In essence, K Records and Calvin Johnson consistently sought out musicians who aligned with their ideals, regardless of where they came from. Over time, he built professional connections and friendships with groups hailing from various parts of the world, such as Canada, Australia, Ireland, and Japan. He understood that common beliefs mattered more than linguistic or culinary differences.

Ultimately, what defined Beat Happening was their unwavering commitment to individualism, a fundamental aspect of American identity, as seen in their punk rock origins and lifestyle. While many other bands shared the same DIY ethos characteristic of punk music, Beat Happening stood out by consistently embodying this spirit throughout their career. They weren’t pioneers in terms of adopting the independent approach typical of punk rock, but they embraced it more wholeheartedly than most. For instance, they didn’t start as polished musicians, often playing shows with limited instrument skills. Furthermore, they didn’t initially own a drum kit or even bother having a bass player. Yet, their dedication to this lifestyle was exceptional.

They regarded all those aspects, including their inexperienced musicianship, as harmonious with their concept of what a band should be. Consequently, when opportunities for advancement presented themselves, they chose not to take them. While their playing and songwriting skills did evolve over time, this wasn’t the primary reason they formed a band.

The unique American quality of Beat Happening was their formation as a band. Rather than being compelled or discovering themselves by some external force, they consciously chose to become a band, bringing them into existence. This initiative primarily stemmed from Johnson’s vision, but both Lewis and Lunsford embraced the idea wholeheartedly.

At 15, Johnson started DJing at Evergreen State’s KAOS radio station, and he concluded that being in a band would suit him well, given the music of groups like the Slits and the Raincoats he admired. Believing he could emulate their style, he set out to make it a reality.

In those groups, all members were female, which made him believe it was crucial to include a woman or two in his own band. Eventually, he managed to persuade the hesitant Lewis to join him, as well as guitarist Laura Carter. Later, when Carter departed, he brought Lunsford on board, and that completed the lineup.

Following their formation, Beat Happening, led by Johnson, and his bandmates took an extraordinary step, even for DIY pioneer Johnson. They chose to travel to Japan, as Johnson expressed, because in that country, being American remained fashionable. In addition, Johnson managed to secure college credits from forward-thinking Evergreen State during this trip. However, the primary motivation behind boarding a plane for Japan was their aspiration to achieve rock stardom.

The initial attempt didn’t pan out as planned. The Beat Happening, who were relatively unknown and struggled with their instruments, weren’t exactly successful. However, the journey wasn’t entirely fruitless. Instead, during this period, Johnson encountered other musicians with similar musical ideologies, hidden in Japan’s music scene. One of these bands was Shonen Knife. Soon after, K Records would release Shonen Knife’s debut album, marking a significant milestone in the unfolding events.

What Johnson was doing was looking to the horizon. He was seeking the best and brightest in other cultures and bringing them home to his tiny corner of the USA. There is nothing more ambitious, audacious, and entrepreneurial than that trip to Japan. There is nothing more American.

After achieving that, the three-piece group discovered there were no boundaries holding them back. Not long after, they debuted their initial album, titled “self-titled,” consisting of ten tracks. This album was produced by Greg Sage, a friend and lead vocalist from the influential punk band Wipers. The record contained unique minimalist pieces such as Johnson’s eerie “I Spy” and Lewis’ upbeat tribute to youthful beach frolics called “Down at the Sea.” Despite having a low-fi sound, their songs carried a message and a passion for classic guitar-driven rock music.

The Beat Happening band served as a contrast to the emerging northwest sound, ready to burst forth. Johnson expressed himself uniquely, embodying his own individuality. Unlike many punk rock artists, he was distinct from the aggressive Black Flag style. Instead, he exuded an aura of delicate romanticism.

In the realm of independent music, particularly within the raw and dynamic scene of indie punk, I’ve been profoundly inspired by trailblazers like Ian MacKaye from Fugazi. Their awe for my unique position was palpable, and it moved Kurt Cobain so deeply that he immortalized his respect in the form of a tattoo on his arm – a simple “K” symbolizing K Records, the label I founded. This tribute continues to resonate with me, serving as a testament to our shared passion for music and its power to shape culture.

By their second album, “Jamboree” released in 1988, Beat Happening was refining its musical style. The song “Indian Summer” was a deeply nostalgic tune about youthful longing, carried by Johnson’s slightly out-of-key baritone voice. Lewis provided several songs, one of them being the almost entirely a cappella “Ask Me,” which bore resemblance to Maureen Tucker’s compositions with the Velvet Underground.

For three studio albums prior to their disbandment in 1992, Beat Happening evolved slightly professionally, yet consistently retained their unique sound. Their tunes were simple and catchy, while their vocals seemed authentically genuine, surpassing many bands with more skilled vocalists. What truly set them apart was their unwavering dedication to preserving their individual style, even if it potentially hindered their financial success.

1991 marked a pivotal moment in indie music history, as Johnson orchestrated an event that would forever alter its landscape – the International Pop Underground Convention. This gathering, in essence, served as a global Woodstock for dedicated independent rock enthusiasts. Notable bands such as the Melvins, Fugazi, Bikini Kill, and L7 graced the stage, but it was also attended by approximately a thousand youths who craved music genres beyond those provided by mainstream labels.

At that particular time, there was an unexpected mutual benefit between Olympia, Washington, and Washington D.C. Both cities played significant roles in the life of Calvin Johnson, a resident of Olympia who also spent part of his youth in the DC area, as did Kathleen Hanna, another Evergreen State alumnus. In DC, Johnson encountered Ian MacKaye, which expanded their knowledge about punk rock. On the opening night of the IPU Convention, Bratmobile from Washington D.C. played a concert featuring female musicians. Hanna’s Bikini Kill and Bratmobile were among the pioneers of the Riot Grrl movement, and they both shared connections to Olympia and Calvin Johnson.

Perhaps the most striking aspect of the IPU Convention was that Johnson didn’t feel compelled to organize subsequent events. Unlike other, more lucrative festivals, it wasn’t primarily driven by profit, but there was potential backing available. However, for Johnson, there was no desire to reproduce an exact replica. He had already accomplished that. Now, it was time to explore new endeavors.

In a scenario where any other entrepreneur embarked on organizing their own festival, I am confident that Calvin Johnson would have extended his assistance. This is how collaboration typically unfolds – encourage and aid others in their ventures while continuously seeking out fresh opportunities to innovate. Keep gazing towards the future for the next bold endeavor.

You might love or hate Beat Happening’s music. They inspired actual hatred on stage, which is hard to fathom given the lovely nature of most of their output. But people don’t like bands that are different, and Beat Happening was different. So were the B-52’s down in Athens, and Husker Du in Minneapolis, and Minutemen in San Pedro. They all fought against the odds to put their music in front of an often disinterested pubic. But they all kept at it.

Following the IPU Convention, Nirvana dropped their album “Nevermind“. Just a few years later, Green Day released “Dookie“. The DIY punk scene was expanding rapidly and was on the verge of being mainstreamed as Grunge and Pop Punk. Many bands found significant financial success by signing with major record labels.

It seems that one of the most typical actions for Beat Happening could have been to capitalize on their own success, but that’s modern America, where financial gains outweigh other considerations. However, Johnson, Lewis, and Lunsford weren’t drawn to that. Instead, they chose to chase their dreams without being bound by a label that would prioritize profits over their creative freedom.

1992 saw them publish their last album, titled “You Turn Me On“. This was their swansong, and if they had continued, this could have been their defining song. In “Teenage Caveman”, Johnson croons, “The guitar spins, rock and roll triumphs – We rise to the top, we’re the best of the best.

I learned a lot of what I know about Beat Happening from Michael Azerrad’s sensational book Our Band Could Be Your Life. The Magnetic Fields’ Stephin Merritt, another of the countless musicians influenced by Beat Happening, narrates the chapter on Johnson and the band. The book is full of fascinating stories. But you don’t need to read up on them if you don’t want to. Just give a listen to one of their albums. You will be hearing a true American original. Perhaps the truest.

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2024-10-19 16:01