The early 1980s American hardcore scene was a whirlwind, with different regions interpreting the raw energy and ethos in unique ways. While Washington D.C.’s Minor Threat laid the foundational concept of a drug-free lifestyle, its adoption and adaptation varied wildly across the country. Boston embraced it with bands like SS Decontrol and DYS, associating a distinct look and physical presence that remains part of straight edge culture. Even in Reno, Nevada, 7 Seconds echoed Minor Threat’s sentiments, adding their own voice of dissent against substance abuse and social ills.
However, Southern California, the very birthplace of hardcore punk, presented a stark contrast. Amidst the rise of bands celebrating self-destruction like Social Distortion and China White, early straight edge proponents such as America’s Hardcore, Stalag 13, and Justice League struggled to gain traction and make a lasting impact. It wasn’t until Uniform Choice emerged from Orange County in 1983 that straight edge began to resonate on the West Coast, igniting a movement that would redefine the hardcore landscape through the end of the decade. Their debut LP, Screaming for Change, released in 1986, alongside Youth of Today’s Can’t Close My Eyes EP from New York, marked a pivotal bi-coastal surge in straight edge hardcore.
Southern Lord’s deluxe reissue of Screaming for Change underscores the album’s enduring influence three decades later. Packed with previously unseen photographs and remastered for optimal sound, this reissue serves as a testament to its continued relevance. In conjunction with this reissue and the release of the book Straight Edge – The Clear History of Clean and Sober Hardcore, this article delves into the origins of Uniform Choice, their formation within the tumultuous Southern California punk scene, and their improbable brush with a collaboration with N.W.A., offering an exclusive glimpse into a chapter of hardcore history.
SCREAMING FOR CHANGE: UNIFORM CHOICE AND THE RISE OF ORANGE COUNTY STRAIGHT EDGE
Pat Dubar, the vocalist of Uniform Choice and later Unity, recalls his initial immersion into the Orange County scene after moving from Missouri. “I moved here to Orange County from Missouri when I was 9, and I was the king of the dorks,” Dubar recounts. “I moved to a place where everything had to be O.P. and I was wearing Toughskins and Wallabies and number shirts from Kmart.” His early experiences of feeling like an outsider shifted dramatically when he discovered punk rock. Mike Pritzel, a high school acquaintance, introduced him to Black Flag’s Jealous Again, sparking a musical awakening.
Dubar vividly remembers his first venture into Zed Records in Long Beach, a store dedicated to punk rock. Overwhelmed by the selection, he sought a recommendation from Big Frank Harrison, the store clerk, who handed him Minor Threat’s first 7”. “He handed me the first Minor Threat 7”, and I bought it. I took that home, and the first song I heard was “Filler.” Since it was all about religion and I was stuck in this Catholic school I didn’t understand, that was it — that song became my battle cry.” D.C. punk, with its directness and message, deeply resonated with Dubar, solidifying his personal convictions against substance abuse and aligning with his questioning of religious dogma. “If I could have just moved my family to D.C. in the early ’80s, I would have. I’ve never made any apologies in saying Ian MacKaye’s music changed my life.”
Pat Longrie, drummer for Unity and later Uniform Choice, found his connection through high school football and a shared musical taste with Dubar and Dan O’Mahony. “I went to a Catholic high school where I met two guys: Pat Dubar and Dan O’Mahony. Strangely enough, it was freshman football that brought us together,” Longrie explains. Their shared passion for aggressive music and a desire for a positive, unified mindset laid the groundwork for their involvement in the burgeoning punk scene. Punk rock, surprisingly embraced within their high school environment, became an outlet for youthful rebellion and self-discovery. The unexpected support from their football teammates at early backyard shows created a uniquely positive atmosphere, contrasting with the often-negative stereotypes associated with punk culture.
Straight edge emerged as a natural extension of their developing ethos. While acknowledging the influences of Minor Threat and 7 Seconds, Longrie emphasizes the Orange County context: “Straight-edge was something that we could gravitate towards, but expand upon on in our own way. Growing up in D.C. or Boston or New York or Chicago, I’m sure, was uniquely different, and Orange County was shockingly different from all of those.” This localized interpretation, shaped by their experiences, became the foundation for the Orange County straight edge scene, leading to the formation of their own bands. Despite lacking initial musical expertise, Dubar and Longrie committed to forming a band, flipping a coin to decide who would acquire equipment. Longrie ended up with a drum set, Dubar a P.A., and Labelled Dead was born, a precursor to their later, more impactful projects. Dubar’s vocal talents soon led him to Uniform Choice, a band already in existence but on the cusp of transformation.
Dubar recounts a pivotal moment at the T-Bird Rollerdrome, attending a show featuring Suicidal Tendencies and Descendents. A stage-diving incident led to a chance re-encounter with Pat Dyson, an old neighborhood friend. “I get up on stage, do my thing, flip off stage and wipe out all these people. I took out one motherfucker that was huge. All of a sudden, someone is picking me up by my shirt. I look down at the guy who has me off the ground, and it’s Pat Dyson.” Dyson, who Dubar had lost touch with years prior, was also involved in a band, the original iteration of Uniform Choice. After a brief and unsuccessful attempt to join Dyson’s band, Dubar and Dyson decided to form their own project. Victor Maynez joined, replacing the original guitarist, and this new lineup solidified as Uniform Choice.
Longrie clarifies the evolution of Uniform Choice, noting the band’s earlier pop-punk phase before Dubar’s arrival. Jon Roa of Justice League and End to End also distinguishes between the earlier, less impactful Uniform Choice and the Pat Dubar-fronted version that became synonymous with Orange County straight edge. While Dubar joined Uniform Choice, Longrie initiated Unity with Joe Foster, Rob Lynch, and a bassist. These two bands, Uniform Choice and Unity, became central to the Orange County straight edge scene, fostering a collaborative and supportive environment. “Uniform Choice and Unity were the ones that started the Orange County straight-edge scene,” Longrie states. “I would always go to Uniform Choice shows, and Pat would go to the Unity shows; we would open up for one another and it was a real family thing. This was all around 1983.”
Gavin Oglesby, guitarist for Carry Nation and No for an Answer, recalls his initial, cryptic exposure to Uniform Choice through graffiti in his high school weight room, unaware of its significance until later. Ryan Hoffman, guitarist for Justice League and Chain of Strength, emphasizes the tight-knit nature of the early Orange County hardcore scene. “Uniform Choice and Unity were great! The scene was very small in the early ’80s, so most of us knew each other really well. Almost every weekend we would meet up to see the touring bands like Agnostic Front, SNFU, Necros, Cause for Alarm, MIA, Marginal Man, BGK, 7 Seconds, Scream and DRI; it was a nonstop assault.” These shared experiences at shows featuring influential touring bands fostered a creative breeding ground, leading to the emergence of numerous Orange County bands. Hoffman lists a remarkable roster of bands that sprouted from this scene, including Infest, Unity, Uniform Choice, Scared Straight, NOFX, Excel, Justice League, Pillsbury Hardcore, and Final Conflict.
Roa highlights Unity’s proactive approach to spreading their message, pioneering the distribution of lyric sheets at shows and giving away demo tapes for free. “Unity were the first band to go to shows with lyric sheets already printed out and hand them out before the show. We thought that was such an awesome idea. How else do you get the message out? How else would they understand your lyrics and where you’re coming from? Unity would give out demo tapes for free, too. You don’t sell them for a dollar — you give them out to get the message out there. They were a big force.”
Tragedy struck the scene with the suicide of Rob Lynch’s older brother, impacting Unity and the close-knit community. Longrie recounts, “There were two kids who were stalwart to the Orange County straight-edge scene that were brothers: Rob and Peter Lynch. They were at every fucking show and they were the coolest guys you’d ever want to meet in your life. But Rob came home one day and opened the garage door to find his older brother hanging there.” This devastating event led to Unity’s disbandment and the Lynch brothers’ relocation.
Dubar notes the growing faction of D.C. punk enthusiasts in Orange County who were drawn to Uniform Choice due to the scarcity of East Coast bands touring the West Coast. This organic growth, though not initially intended as a movement, solidified the straight edge presence in Southern California. Rich Labbate, bassist for Insted, distinguishes Uniform Choice from earlier bands like Stalag 13, acknowledging Stalag 13’s straight edge singer but emphasizing Uniform Choice’s overt and proactive promotion of the lifestyle. “Now, some people consider Stalag 13 the first straight-edge band in Southern California. Their singer was straight-edge, but they didn’t have super in-your-face straight-edge songs. But when Uniform Choice came in, they were considered a straight-edge band. There were X’s everywhere. They were promoting that lifestyle and were way more in your face about it than Stalag 13.”
Roa credits Uniform Choice, specifically Pat Dubar, as the catalyst for the Southern California straight edge scene, highlighting Dubar’s work ethic and sincerity. Longrie recounts his impromptu recruitment into Uniform Choice after Unity’s breakup, replacing Pat Dyson on drums for a show in Riverside with minimal preparation, illustrating the band’s urgency and Dubar’s decisive leadership.
Hoffman describes the pervasive violence within the Southern California hardcore scene, fueled by skinhead and punk gangs, where straight edge was often met with hostility. Chris Bratton, drummer for Justice League and Chain of Strength, recalls encountering skepticism and dismissal of Minor Threat’s influence within the older punk circles, highlighting the generational and stylistic divides within the scene. Mike Ness of Social Distortion’s negative views on straight edge further underscore this resistance. Roa remembers the confrontational reactions to Justice League’s straight edge stance, with people mockingly offering them beer-filled Coke cans, revealing the perceived affront straight edge posed to some within the punk community.
Ian MacKaye himself acknowledges the chaotic nature of the early Los Angeles hardcore scene, referencing bands like America’s Hardcore and Stalag 13 as being deeply immersed in its “debauchery.” Ron Baird, vocalist for Stalag 13, corroborates the violence, recounting disturbing incidents from the early LA punk scene, including gang violence and riots at shows. Joe Nelson, vocalist for Triggerman and Ignite, describes the dangerous allure of early LA punk shows, recalling a specific Exploited concert rumored to be targeted by white power skinheads, illustrating the extreme atmosphere of these events. Dubar, reflecting on Uniform Choice’s first US tour, realized the stark contrast in violence levels between Southern California and other regions, highlighting the intense environment they emerged from. Danny Slam of America’s Hardcore confirms the prevalence of gang mentality and violence at early LA hardcore punk shows, detailing the copycat punk gangs and the constant threat of physical altercations.
Dubar reflects on the frequency of fights at Southern California punk shows as a necessary element of survival, a stark contrast to his later perspective. Slam elaborates on the gang dynamics, explaining their origins in both self-defense and antisocial tendencies, mimicking Mexican gang culture with distinct styles and nicknames. Dubar vividly recalls the diverse gangs present at early Uniform Choice shows, including skinheads, Samoan gangs, and Suicidal Tendencies affiliates, contrasting them with the “normal” skateboarding kids drawn to Uniform Choice. He recounts his naive initial belief in punk’s all-accepting nature and his subsequent commitment to protecting his audience from gang violence, adopting a protective stance.
Labbate likens the gang affiliations at large shows to the movie The Warriors, emphasizing the need for self-protection within these volatile environments. Steve Larson, drummer for Insted, describes the Southern California scene as frightening, contrasting it with East Coast perceptions of hardcore intensity. He highlights Pat Dubar’s defiant presence amidst this chaos as a source of comfort and protection, portraying Uniform Choice as almost a protective older sibling to their fans. Bratton emphasizes Dubar’s leadership and charisma in elevating Uniform Choice to prominence after the disbandment of America’s Hardcore and Stalag 13.
Billy Rubin, editor of Think fanzine, attributes Dubar’s appeal to his athleticism, charisma, and protective nature, providing a sense of security for younger fans amidst the violent scene. Nelson reinforces this perception of Dubar as a protector, willing to confront violent elements to safeguard straight edge kids at shows. Dubar clarifies that Uniform Choice was not pro-violence but determined to establish their presence and create a more inclusive scene, rejecting the label of “positive youth” while maintaining a firm stance against disruptive behavior.
Nelson recounts a video illustrating Dubar’s protective actions, describing an incident where Dubar intervened in a violent altercation to defend his brother and fans, confronting dangerous individuals. Dubar recalls an incident involving the Sons of Samoa gang pulling a knife on their drummer, leading to further onstage and offstage confrontations, highlighting the constant threat of violence. Longrie corroborates the normalcy of fights at their shows, often requiring band intervention, and the casual acceptance of violence as part of the environment. Dubar describes his direct confrontations with Nazi salutes at their shows, physically intervening to eradicate such elements from their audience.
Rubin points out Uniform Choice’s broader appreciation for diversity within punk rock, noting bassist Dave Mello’s indifference to straight edge ideology, emphasizing the band’s focus on music and performance beyond rigid adherence to any single subculture. Dan O’Mahony of No for an Answer and Carry Nation praises Dubar’s stage presence and the enduring appeal of Screaming for Change. John Porcelly of Youth of Today and Judge recalls his first encounter with Uniform Choice on the West Coast, impressed by Dubar’s dynamic stage presence and motivational speeches.
Dubar details the arduous recording process of Screaming for Change with Chaz Ramirez, including technical setbacks and delays, and his initial assumption of releasing the album on Dischord Records. Ian MacKaye’s rejection due to Dischord’s D.C.-bands-only policy, while initially disappointing, led to MacKaye’s pivotal advice to “do it yourself,” inspiring the creation of Wishingwell Records. Longrie elaborates on the formation of Wishingwell Records, born out of necessity due to the lack of suitable West Coast labels, leading to their first release, Unity’s You Are One 7”. Rob Haworth of No for an Answer and Hard Stance emphasizes Wishingwell Records’ inspirational role in fostering a DIY ethos beyond just record production, influencing show promotion and networking within the scene.
Longrie recounts their distribution deal with Tabb Rexx, a Hollywood figure, highlighting the exploitative nature of the deal but its necessity to get their records produced and distributed. Dubar notes the two-year delay in Screaming for Change‘s release due to these various obstacles. Longrie concludes with the unexpected proposition from Tabb Rexx for Uniform Choice to collaborate with N.W.A., a rap group he described as “really aggressive rap music,” intrigued by a perceived connection between the two genres. Despite mutual interest, the collaboration ultimately never materialized.
Rubin emphasizes Uniform Choice’s pioneering role in the nascent straight edge scene, acting as early leaders before a fully defined movement existed. Oglesby laments Uniform Choice’s limited touring at their peak, speculating that greater touring could have significantly amplified their legacy, recognizing their exceptional live performances and devoted fanbase during that era.
