MASS APPEAL

Lucian Perkins was there at the start. Serendipity and gut instinct brought the then-26-year old photographer to capture the Washington, DC punk scene at the outset of its march towards all-out cultural detonation. The scene’s forefathers – bands like Teen Idles, Untouchables, and of course, Bad Brains – were just beginning to articulate themselves, musically, politically, spiritually... READ INTERVIEW

THE NEW YORK TIMES

In 1979, the photographer Lucian Perkins stumbled into a seminal moment in music history. He didn’t know it at the time, of course. He was 26, a photography intern at The Washington Post, when by chance he heard an emerging punk band, Bad Brains, playing above a Washington restaurant…. READ THE FULL STORY

MOTHER JONES

Photographer Lucian Perkins earned two Pulitzer prizes during his 27 years working for the Washington Post, shooting nearly every major historical event of the past two decades. (More recently he cofounded Facing Change, a group that documents rural America in the spirit of the Farm Security Administration.) In his archives, among shots of the Berlin wall coming down, war in the former Yugoslavia, and Palestinian uprisings in the West Bank, Perkins’ assistant Lely Constantinople discovered that his boss also happened to have some amazing, rarely seen photos of the early DC punk scene, shot early in Perkins’ Post career… READ THE FULL REVIEW

THE WASHINGTON POST

A great concert photograph finds a way to communicate all the stuff your retinas can’t detect. Noise. Humidity. Claustrophobia. Young minds being shaped inside sweaty skulls… READ THE FULL STORY

THE PHILADELPHIA REVIEW OF BOOKS

When I worked at the Museum of the International Center of Photography my favorite shows were always those that included salvaged photographs. One such show featured 35mm negatives that a group of photographers shot during the Spanish Civil War. The loyalist-friendly photographers fled quickly when the fascists took Barcelona, and entrusted their negatives to a friend at the Mexican embassy, who was able to get the negatives out of the country thanks to his diplomatic immunity. An anonymous filmmaker found the negatives sixty years later, in a cardboard box in his grandmother’s Mexico City attic … READ THE FULL REVIEW

PUBLISHER’S WEEKLY

Pulitzer Prize–winning photojournalist Perkins’s images, taken during the fall and winter of 1979 and published to accompany a traveling exhibition, document a formative period in Washington, D.C.’s then-nascent punk and hardcore rock scene. At a time when local bands were struggling to find venues at which to perform, hardcore groups began playing at a daring set of “unheralded, unproduced, DIY pop-ups.” Perkins was one of the few to bring a camera to these shows, and he produced propulsive images of the aesthetic as it was forming … READ THE FULL REVIEW

WASHINGTON CITY PAPER

Other aesthetic movements undergo cycles of nostalgia, from neoclassicism to steampunk. We’re at a high point for D.C. hardcore nostalgia, what with the Corcoran’s recently concluded “Pump Me Up” show, various band reunions (Scream, Dag Nasty, and Black Market Baby to name just a few), the Fugazi Live Series, and a string of documentaries on the ’80s D.C. music scene. But one could be forgiven for thinking that it’s always been this way: that D.C. punks, like Baby Boomers, just never stop talking about themselves … READ THE FULL REVIEW


THE HUFFINGTON POST

What do punk rock, a Washington Post reporter and books have in common?… READ THE FULL REVIEW


© 2017 Lucian Perkins via Visura