Before Emmylou Harris became a renowned musician, singer, songwriter, and activist, she was a struggling single mother in the D.C. area. A meeting at Clyde's in Georgetown would change her life.
In 1982, as federal funding for the arts faced cuts, a multiracial women's coalition in D.C. created Sisterfire, a women's festival. What began as a one-day event quickly grew into an annual celebration of women artists.
No doubt D.C. music fans were intrigued when they picked up the Washington City Paper on September 23, 1983: "Funk funk funk funk it up at the pick of the picks tonite…a combination of punk and funk that should be the hottest show of the summer." For the first time, Trouble Funk and Minor Threat would be performing together. The show melded D.C.'s dominant homegrown music styles, Go-go and Hardcore Punk, and promised to be a concert like no other.
Emerging in D.C. in the early 1990s, the Riot Grrrl movement changed punk music, making space for young female musicians and ushering in a new wave of DIY activism. In reaction to the violence and sexism of the hardcore music scene, Riot Grrrl made way for a "girl-dominated" punk community, and though the movement was short lived, and arguably short sighted, its impact on punk music, let alone the D.C. scene, was massive.
The first fliers that appeared in the mail in the summer of 1985 seemed inconspicuous enough. All of them, though, were emblazoned with the slogan, “Be on your toes. This is Revolution Summer.”
Funk band Parliament-Funkadelic has been in a long-term relationship with their African American fans from Washington, D.C. since the early 1970s. The message of Black freedom and empowerment inherent to funk music resonated with activists in the District who had fought for (and won) Home Rule, among other major political and social victories in recent years. In 1975, P-Funk released the album Chocolate City, an ode to the people of Washington, D.C.
Washington in the 1980s served as the backdrop for the emergence of hardcore punk and the straight edge movement. Fed up with what they believed was a culture of excess that had incorporated itself into the punk subculture of the 1970s, a small group of teenage Washingtonians decided to take matters into their own hands. The goal? "Renouncing the unattainable rock & roll myth, making music relevant for real people."
In the 1960s, the D.C. area's most exclusive music scene may not have been in the city's downtown clubs. It may have been behind prison walls at Lorton Reformatory. Year after year, jazz royalty including Ella Fitzgerald, Frank Sinatra, Ray Charles and others came to Lorton and gave free concerts for inmates. The brainchild of two prison chaplains, the Lorton Jazz Festival was more than just entertainment. As co-organizer, Father Carl Breitfeller put it, “Jazz is a definite art form and an aid to rehabilitation...it is a reminder to the inmate that he is a human being.”
"If you were to ask the first comer you meet in the street whether he knew 'Hiawatha' he would immediately be able to whistle it," wrote the Washington Post in 1904. Read about one of the most anticipated musical events of that year, featuring Anglo-African composer Samuel Coleridge-Taylor and his namesake Choral Society.
If you’re from the D.C. area, you know Rock Creek Park for its hiking trails and scenic views. But if you’re from any other part of the country, you might recognize it best from the 1975 song, “Rock Creek Park.” The song’s minimalist verse describes happenings at the local park after sundown...
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