WE GOT POWER

Here with me awaits my super-8, my accomplice, my faithful lover. At the distance, the reflection of the lights, something is about to happen. The tape begins to roll in the reel. The path, stony and sharp, guides us towards an end without end. The haze of the crowd feels deep, a calm that awaits. The static that dances on the bodies, which laughs, accustomed to laugh, screams very loudly, that would like to be wind. A microphone's feedback deceives everybody. A mixture of hot beer and cigarette smoke is the only smell in the environment. No one thinks of the time, and immersed in a sea of delirium I remember that I have being nowhere better than here, I was never freer than now.

DAVE MARKEY exclusive with SUBTERRANEO.

Dave Markey is a reference and indispensable of the American underground culture of ends of the century XX being the author of the mythical and prophetic documentary "THE YEAR PUNK BROKE" that turns 25 years of life. This documentary portrays a Sonic youth aware of his rise being godparents of Nirvana - with K. Cobain happy and inspired - six months before they jumped to world fame with "Nevermind." Director of films like THE REINACTORS, The Omeneus, various documentaries from the golden era of the hardcore punk scene and the ascendant alternative rock scene of the 80s, music video director of Red kross, shonen knife, mudhoney, Sonic youth, among others. Also, along with Jordan Schwartz, they published the book entitled "WE GOT POWER! Hardcore Punk Scenes From 1980′s Southern California".

In your movie, between so many musicians in the dressing rooms we see a funny Nirvana with Krist Novoselik and Dave Grohl throwing food and bragging. How do you remember this young Dave Grohl that today is Mr. Foo Fighter and a retired Novoselic?

I remember Dave and Krist as being young and totally hung ho for the experience. There was fair amount of partying going on, a lot of drinking and late nights. Everyone was happy to be there and enjoying themselves.  Some of the stuff we see is influenced by this fact. I may have egged on their backstage food platter scene.

What do you remember about the time when you were doing “The Slog Movie” and “The Omenous?

I was young, a teenager, but I remember a lot of that stuff fairly well.  “The Omenous” was the last film I did (at 15) that stayed inside my Santa Monica neighborhood. By the time I was doing We Got Power (‘zine) at 17, I was getting out of my surroundings. That was important, and crucial to my filmmaking.

Is there a political reason above aesthetics why you use little HD in your achievements?

High Def?  Well, I've produced work in HD recently, like music videos for Bob Mould, Heyrocco and The Black Lips.  The reason why most of my work exists in standard def, is that this is the format and technology that was available at the time. I worked with what was readily available to me, which was primarily Super-8 film.

Being part and survivor of the Punk-Hardcore scene in Los Angeles, a boy who started filming in an autodidact manner with an urgency to capture what was happening in his city, his group of friends, favorite bands, context, etc. Do you see something similar happening in California today?

There is a lot of music going on currently in Los Angeles, and I do see a younger generation being clearly impacted and influenced by so much of this music and culture. Some bands have the sound and attitude down pat. Check out The Side Eyes. I am not really up on all of it, I just don’t have the tenacity to get out there and check bands out like I used to. That said, I still do see a fair share of live music. But really, this is such a different world… Comparisons are not really fair, or even that interesting. But I will say the music here is thriving right now.