“Inner Ear Studios in Arlington Demolished, Memories Remain”
A spacious grassy area nestled among industrial buildings in South Arlington, Virginia holds a secret punk rock history. Once home to Inner Ear Studios at 2701 South Oakland Street for about three decades, this studio was an iconic hub for musicians like Fugazi and Foo Fighters. Studio owner Don Zientara eventually closed the studio in 2021 as Arlington County announced plans to develop an arts district in the area. This industrial zone seemed nondescript, with a steel door, a buzzer, and the friendly face of Don Zientara greeting visitors. Despite its unassuming exterior, this warehouse-turned-recording-studio held a world of magic behind its doors.
Cynthia Connolly, known for documenting D.C.’s punk scene in her book “Banned in DC: Photos and Anecdotes from the DC Underground (79-85),” humorously reminisced about the entrance to Inner Ear Studios. She recalled a tucked-away space that transformed into a creative haven once visitors crossed the studio’s threshold. Now, only a handful of white cinder blocks remain where the studio used to stand, including a wall symbolizing the former drum riser and serving as a tribute to Inner Ear’s significance in the community.
Josh Stoltzfus, the county’s deputy director of cultural affairs, shared plans for the site’s future incarnation as the 2700 South Nelson Project. The project’s aim is to revitalize the area into an arts and industry district, with a focus on music and visual arts. An upcoming mural by artist MasPaz, based in D.C., will adorn the headquarters of the Arlington Food Assistance Center, enhancing the neighborhood’s cultural landscape.
In addition to the mural, the project seeks to establish a vibrant arts market in the grassy area, offering a unique space dedicated exclusively to art. Making an inclusive call to the public, the project invites contributions of classic D.C. show flyers, Inner Ear photos, and other memorabilia for an upcoming public outdoor installation. This installation will celebrate the grassroots spirit of the local music scene by assembling a collage of artwork that mirrors vintage show flyers adorning walls.
Before the era of social media and the internet, bands communicated through tangible flyers distributed at shows and local hangouts. Connolly noted the significance of these paper relics that captured the essence of the punk movement. Flyers were not only a promotional tool for events but also a form of street art, often pasted on vacant or boarded-up buildings as guerrilla advertisements for upcoming shows. Through this art installation, the legacy of these ephemeral artifacts will live on, showcasing the rich history of D.C.’s underground music community.