Greg Graffin Dissertation

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No chords, I get to play one string at a time; I can do this easy, all you've got to do is follow the guitar player." The quartet first plays together in Graffin's parent's living room, before moving onto the living room at Ziskrout's.

In a 2010 interview with Bad Religion fan site thebrpage.net, Bentley says this is where they came up with the name Bad Religion and the cross-buster logo that they use for the next 30 years.

They're introduced to Gurewitz through mutual friend Tom Clement.

Gurewitz is already a member of a New Wave group called the Quarks.

And we all thought that's a better idea." The record is mastered at Goldstar Recorders in Hollywood where future Concrete Blonde singer Johnette Napolitano works as a receptionist.

She likes the band's music and suggests they use her boyfriend, one-time Sparks guitarist and future Concrete Blonde guitarist James Mankey, as producer on their next album.

Graffin finds it difficult adjusting to his new home's life-style, and takes solace in the punk records he discovers while listening to legendary KROQ DJ Rodney Bingenheimer on his show Rodney on the ROQ.

1979 to 1980 Graffin meets drummer Jay Ziskrout at El Camino Real High School in Woodland Hills.

in 2004 that the Adolescents' Blue and Kids of the Black Hole albums were his biggest influences as far as his writing style. The tape they emerge with makes the rounds, eventually landing in the hands of Lucky Lehrer, drummer for Circle Jerks, an already established So-Cal hardcore band featuring former Black Flag vocalist Keith Morris and guitarist Greg Hetson, who also plays in Redd Kross. Instead the band's first show is at a warehouse party outside Los Angeles opening for Social Distortion, at the time still in their infancy.

Lehrer plays the tape on Bingenheimer's show on KROQ, known for being friendly to local L. With only half-a-dozen songs in their catalogue, they play the same set twice. hardcore, although elements of the band's more melodic sound are there, as is the band's ability to pen political songs that offer more than simple sloganeering.

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