Minor Threat

Minor Threat was an American hardcore punk band, formed in 1980 in Washington, D.C., by vocalist Ian MacKaye and drummer Jeff Nelson. MacKaye and Nelson had played in several other bands together, and recruited bassist Brian Baker and guitarist Lyle Preslar to form Minor Threat. They added a fifth member, Steve Hansgen, in 1982, playing bass, while Baker switched to second guitar.
The band was relatively short-lived, disbanding after only three years together, but had a strong influence in the emerging American hardcore punk scene, both stylistically and in helping to further establish the "do it yourself" ethic for music distribution and concert promotion. Minor Threat's song "Straight Edge" was the basis of the straight edge movement, which emphasized a lifestyle without alcohol or other drugs, or promiscuous sex. AllMusic described Minor Threat's music as "iconic" and noted that their groundbreaking music "has held up better than [that of] most of their contemporaries."
Along with the fellow Washington, D.C. hardcore band Bad Brains and California band Black Flag, Minor Threat set the standard for many hardcore punk bands in the 1980s and 1990s. All of Minor Threat's recordings were released on MacKaye's and Nelson's own label, Dischord Records. The Minor Threat EP and Out of Step EP have received a number of accolades and are cited as landmarks of the hardcore punk genre.
Prior to forming Minor Threat in 1980, vocalist Ian MacKaye and drummer Jeff Nelson had played bass and drums respectively in the Teen Idles while attending what was then Wilson High School. During their two-year career within the flourishing Washington D.C. hardcore punk scene, the Teen Idles had gained a following of around one hundred fans (a sizable amount at the time), and were seen as only second within the scene to the contemporary Bad Brains. MacKaye and Nelson were strong believers in the DIY mentality and an independent, underground music scene. After the breakup of the Teen Idles, they used the money earned through the band to create Dischord Records, an independent record label that would host the releases of the Teen Idles, Minor Threat, and numerous other D.C. punk bands.
Eager to start a new band after the Teen Idles, MacKaye and Nelson recruited guitarist Lyle Preslar and bassist Brian Baker. They played their first performance in December 1980 to fifty people in a basement, opening for Bad Brains, The Untouchables, Black Market Baby and S.O.A., all D.C. bands.
The band's first 7-inch EPs, Minor Threat and In My Eyes, were released in 1981. The group became popular regionally and toured the east coast and Midwest.
"Straight Edge," a song from the band's first EP, helped to inspire the straight edge movement. The lyrics of the song relay MacKaye's first-person perspective of his personal choice of abstinence from alcohol and other drugs, contrary to most rock musicians at the time. Although the original song was not written as a manifesto or a "set of rules," according to the band members, many later bands inspired by the idea used it as such. Minor Threat band members stated they never intended or viewed "Straight Edge" as a "movement".
"Out of Step", a Minor Threat song from their second EP, further demonstrates the said belief: "Don't smoke/Don't drink/Don't fuck/At least I can fucking think/I can't keep up/I'm out of step with the world." The "I" in the lyrics was usually only implied, mainly because it did not quite fit the rhythm of the song. Some of the other members of Minor Threat, Jeff Nelson in particular, took exception to what they saw as MacKaye's imperious attitude on the song. The line "Don't fuck" sparked widespread debate, to which Ian clarified that the intent was commentary on society's attitude towards predatory or casual sex, not on the act itself.
Minor Threat's song "Guilty of Being White" led some critics to accuse the band of racism, but MacKaye has strongly denied such intentions and said that some listeners misinterpreted his words. He claims that his experiences attending Wilson High School, whose student population was 70 percent Black, inspired the song. There, many students bullied MacKaye and his friends. In an interview, MacKaye stated that he was offended that some perceived racist overtones in the lyrics, saying, "To me, at the time and now, it seemed clear it's an anti-racist song. Of course, it didn't occur to me at the time I wrote it that anybody outside of my twenty or thirty friends who I was singing to would ever have to actually ponder the lyrics or even consider them." Thrash metal band Slayer later covered the song, with the last iteration of the lyric "guilty of being white" changed to "guilty of being right."
In the time between the release of the band's second seven-inch EP and the Out of Step record, the band briefly split when guitarist Lyle Preslar moved to Illinois to attend college for a semester at Northwestern University. Preslar was a member of Big Black for a few tempestuous rehearsals. During that period, MacKaye and Nelson put together a studio-only project called Skewbald/Grand Union; in a reflection of the slowly increasing disagreements between the two musicians, they were unable to decide on one name. The group recorded three untitled songs, which would be released posthumously as Dischord's 50th release. During Minor Threat's inactive period, Brian Baker also briefly played guitar for Government Issue and appeared on the Make an Effort EP.
In March 1982, at the urging of Bad Brains' H.R., Preslar left college to reform Minor Threat. The reunited band featured an expanded lineup: Steve Hansgen joined as the band's bassist and Baker switched to second guitar.
When the "Out of Step" was re-recorded for the LP Out of Step, MacKaye clearly sang "I don't drink/smoke/fuck", as was the intent of his words all along, in response to what many saw as his imperious attitude on the song. The band also inserted an overdubbed spoken section into the instrumental break before the last chorus with MacKaye stating, "This is not a set of rules, I'm not telling you what to do..." Recording engineer Don Zientara had inadvertently recorded an argument between drummer Nelson and lyricist/singer MacKaye that captured the message perfectly, so this was used. According to Mark Andersen and Mark Jenkins' Dance of Days: Two Decades of Punk in the Nation's Capital, this argument was over exactly what would be said in the message that Nelson wanted MacKaye to record, stating essentially what he said without knowing it was being recorded.
Minor Threat broke up in 1983. According to Baker, a major point of contention was the band's musical direction:
MacKaye was skipping rehearsal sessions towards the end of the band's career, and he wrote the lyrics to the songs on the Salad Days EP in the studio. That was quite a contrast with the earlier recordings, as he had written and co-written the music for much of the band's early material. Minor Threat, which had returned to being a four-piece group with the departure of Hansgen, played its final show on September 23, 1983, at the Lansburgh Cultural Center in Washington, D.C., sharing the bill with go-go band Trouble Funk, and Austin, Texas punk funk act the Big Boys. In a meaningful way, Minor Threat ended their final set with "Last Song", a tune whose name was also the original title of the band's song "Salad Days".
Following the breakup, MacKaye stated that he did not "check out" on hardcore, but in fact hardcore "checked out". Explaining this, he stated that at a 1984 Minutemen show, a fan struck MacKaye's younger brother Alec in the face, and he punched the fan back, then realizing that the violence was "stupid," and that he saw his role in the stupidity. MacKaye claimed that immediately after this he decided to leave the hardcore scene.
In March 1984, six months after the band broke up, the EPs Minor Threat and In My Eyes were compiled together and re-released as the Minor Threat album. The Complete Discography archival compilation would follow in 1989, with the additional release of First Demo Tape in 2003. Two previously unreleased songs were featured on the 20 Years of Dischord compilation in 2002.
MacKaye went on to found Embrace with former members of the Faith, Egg Hunt with Jeff Nelson, and later Fugazi, the Evens, and Coriky, as well as collaborating on Pailhead.
Baker went on to play in Junkyard, the Meatmen, Dag Nasty and Government Issue. Since 1994, Baker has been a member of Bad Religion.
Preslar was briefly a member of Glenn Danzig's Samhain, and his playing appears on a few songs on the band's first record. He joined The Meatmen in 1984, along with fellow Minor Threat member Brian Baker. He later ran Caroline Records, signing and working with (among others) Peter Gabriel, Ben Folds, Chemical Brothers, and Idaho, and ran marketing for Sire Records. He graduated from Rutgers University School of Law and lives in New Jersey.
Nelson played less-frantic alternative rock with Three and The High-Back Chairs before retiring from live performance. He runs the record label Adult Swim Records (distributed by Dischord) and Pedestrian Press, as well as being a political activist. He resides in Toledo, Ohio.
The band's own Dischord Records released material by many bands from the Washington, D.C., area, such as Government Issue, Void, Scream, Fugazi, Artificial Peace, Rites of Spring, Gray Matter, and Dag Nasty, and became a respected independent record label.
Hansgen formed Second Wind with Rich Moore, a former Minor Threat roadie and drummer for the Untouchables. In 1992, he worked as a producer on the first Tool EP Opiate.
In 2005, a mock-up of the cover of Minor Threat's first EP (also used on the Minor Threat LP and Complete Discography CD) was copied by athletic footwear manufacturer Nike for use on a promotional poster for a skateboarding tour called "Major Threat". Nike also altered Minor Threat's logo (designed by Jeff Nelson) for the same campaign, as well as featuring Nike shoes in the new picture, rather than the combat boots worn by Ian MacKaye's younger brother Alec on the original.
MacKaye issued a press statement condemning Nike's actions and said that he would discuss legal options with the other members of the band. Meanwhile, fans, at the encouragement of Dischord, organized a letter-writing campaign protesting Nike's infringement. On June 27, 2005, Nike issued a statement apologizing to Minor Threat, Dischord Records, and their fans for the "Major Threat" campaign and said that all promotional artwork (print and digital) that they could acquire was destroyed.
On October 29, 2005, Fox played the first few seconds of Minor Threat's "Salad Days" during an NFL broadcast. Use of the song was not cleared by Dischord Records or any of the members of Minor Threat. Fox claimed that the clip was too short to have violated any copyrights.
In 2007, Brooklyn-based company Wheelhouse Pickles marketed a pepper sauce named "Minor Threat Sauce". Requesting only that the original label design (which was based on the "Bottled Violence" artwork) be amended, Ian MacKaye gave the product his endorsement. A small mention of this was made, where MacKaye commented, "I don't have an occasion to eat a lot of hot sauce, but I also thought the Minor Threat stuff was nice."
In 2013, Minor Threat shirts began appearing in Urban Outfitters stores. Ian MacKaye confirmed that the shirts were officially licensed. Having spent what he described as "a complete waste of time" trying to track down bootlegged Minor Threat merchandise, MacKaye and Dischord made arrangements with a merchandise company in California to manage licensing of the band's shirts, as well as working to ensure that bootleg manufacturers of the shirts were curtailed. In comments that appeared in Rolling Stone, MacKaye called it "absurd" for the shirts to be sold for $28 but concluded that "my time is better spent doing other things" than dealing with shirts. Dischord had previously taken action against Forever 21 in 2009 for marketing unlicensed Minor Threat shirts.
In the book Nothing Feels Good: Punk Rock, Teenagers, and Emo, music critic Andy Greenwald wrote, "Minor Threat found artistry in economy, pumping the bottomless teenaged well of rage − against the establishment, against the cops, against apathy and each other − to fuel blistering, ferociously short sharp sonic shocks in the form of songs. The beats were monochromatic and the instruments were raced as fast as they could possibly go − the goal was catharsis through the passionate expenditure of energy."