Salad Days Explore How DC’s Hardcore Scene Defied the Status Quo
In the 1980s, Washington, DC, was more than just the seat of power; it was a battleground. The DC hardcore punk scene—raw, urgent, and unflinchingly independent—emerged as a cultural counter-punch to an era of conservative dominance, Cold War paranoia, and the ever-expanding shadow of authority.
Filmmaker Scott Crawford’s Salad Days captures this moment with unfiltered clarity, chronicling a scene that transformed American punk and influenced generations to come. In this interview, Crawford peels back the layers of myth and memory, reflecting on what made the DC punk movement so singular—its contradictions, its defiance, and its lasting impact. From the unexpected geography of Georgetown’s underground rebellion to the tensions and evolution of Revolution Summer, Crawford’s perspective offers a rare, inside look at the forces that shaped a music scene—and a movement.
DC may have been home to the suits, but in the basements and makeshift venues of the city, another form of governance was at work: one built on DIY ethics, unfiltered expression, and a refusal to conform. This is punk in the shadow of power—loud, relentless, and unwilling to be ignored.
Evan Toth: What was the impetus for you really digging into the Washington DC hardcore scene and making a film about it? What drew you personally to the punk rock movement, and how did your own experiences shape your perspective while making "Salad Days"? Share some background on the spark, the inspiration to make this film.
Scott Crawford: I think it was a time in my life that had never properly reflected on and I wanted to revisit it. The DC punk scene informed my life in so many ways and I wanted to share some of what made it so special with the rest of the world. I have to admit I was taken aback at how much the film resonated with audiences. On the other hand, it helped validate much of what I feel about the city and the people that continue to make up the punk scene here.
ezt: I was surprised to learn that Georgetown was ground zero for the DC punk scene. In my mind, I thought it was some industrial area, but people who know Georgetown know that it was then - as still is - quite a wealthy area. Can you weigh in on the geographic significance of the scene you follow in your film?
sc: That was something I wanted to explore in the film because I can remember hearing bands come back from tour and them telling me how many people thought of DC as a bunch of "spoiled rich kids." DC is not a working class town like say, Detroit. I wanted to acknowledge that for the audience for further context.
ezt: The film features a rich tapestry of archival footage. What was the most surprising or difficult piece of material you encountered during your research, and how did it impact your storytelling? Where did you get all of that great stuff?
sc: Some of the photos I was most excited about were the ones by Michael Horsley—I can't remember how I came across his pics, but they really helped paint a portrait of the city in the 80s and the kind of "playground" that existed for folks that went to see shows there.
They're the black and white snapshots that you see throughout the film and in the opening credits. The other piece of footage that I really love is the 8MM film at the end. When I saw that for the first time, I knew that's how the film would end. Watching those clips still gives me goosebumps.
ezt: I could listen to Henry Rollins talk for a week straight. He’s so smart and fun. What was it like getting him in the film? As a record collector and archivist, was he helpful in getting any materials together for you?
sc: Rollins always offers great insights into whatever he might be talking about. He didn't help with any of the archival materials but we didn't aslk—you don't want to ask Henry for too much and be on the receiving end of his impatience. Ha!
ezt: You had a lot of opinionated people who were there in the scene, did any of them push back against what they thought your direction was?
sc: There were a number of people that may have an agenda or points they wanted to get across, and I was totally fine with that. This is their story, too. That's why I tried to reflect a number of opinions throughout the film—I didnt want it to seem as if I saw the scene through rose colored glasses in any way, although it's almost impossible to not have my own experience reflect in the narrative.
ezt: You go out of your way to show a really holistic, fair overview of the good, bad, and the ugly of those days. What was it like to see all sides of the story when constructing a vision of what the film might look like?
sc: I always try and approach this stuff in the most journalistic way I can—where you're showing as many sides as possible and perhaps not even offering any kind of final opinion or resolution, just let the stories speak for themselves.
ezt: The biggest surprise of the film for me was the evolution of the scene into Revolution Summer. Music from that era of the scene feels - as you point out - very much the gateway to grunge. The tone of the documentary also changes as during the transition into Revolution Summer; the pace of the film relaxes. How did you choose to frame this era of the scene?
sc: That part of the scene was incredibly nuanced and challenging to explain. As somebody who watched it happen first hand, I saw how powerful it can be when a community comes together and fights for something they think needs changing—and in that case, it was a sense of taking back the original spirit of the earlier, tight-knit scene and make the shows friendlier and more communal again. That said, not everyone agreed with the end results. Certain bands felt excluded and not part of the "cool club." I remembered those conversations from sitting in vans or hanging out with certain bands at that time and I wanted to examine that again.
ezt: Once this current tour is over, what are you plans going forward with the film?
sc: Salad Days will remain on streaming platforms and DVDs as long as there's an interest I suppose. You can also visit the film's website at saladdaysdc.com for merch and more info on the film.
ezt: Are you currently working on any projects that we should keep an eye out for?
sc: I'm working on a new documentary called "Something Better Change" about the band DOA and their frontman Joe Keithley—who's a punk rock icon at this point—and his evolution from activist to politician. He's an elected council member in outside of Vancouver, Canada in the town of Burnaby. The film follows him as he goes up for reelection and what the outcome is. It's unlike any film I've done previously and I'm really proud of it. Joe was an early inspiration for everyone from Duff McKagan to Ian Mackaye and Henry Rollins (they all make an appearance in the film).
Scott will be touring the film this summer and it will be on digital streaming services by fall of 2025.
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