Haun the Scene
Exploring the legacy of an unsung photographer.
Roberta Bayley, Edward Colver, Lynn Goldsmith, Michael Grecco, Melanie Nissen, Glen E. Friedman… the list goes on. When we hear the names, images of iconic photos instantly pop into our heads. For the better part of the 80’s, Lisa Haun was quietly amassing an incredible body of work as powerful as the music itself. This is a tiny fraction of her work.
Did you grow up in Philadelphia? Is that where you first started taking photos?
Yes, I grew up in Philadelphia. I started taking photographs while I was a communications major at Temple University.
What sparked your interest in photography?
My high school English teacher also ran the art club. After one class where I tried (I did not draw well), she suggested my time would be best spent in academics rather than art, but I thought she was wrong. I started seeing photos I liked taken by other students at Temple U. There was a photo class in the journalism department that gave you a camera for the semester, so I decided to give it a try.
Did you start out shooting artists in a live setting? Do you recall the first artist you photographed?
Yes, I did first shoot live bands when I went to clubs. I had friends in bands in Philly and did some nice, posed work with them and that really got me hooked.
The first portraits I took of musicians were local bands King of Siam and Bunnydrums.
By the time you left high school did you know you wanted to pursue photography, or did you just fall into it?
I didn't know anything about photography until I was in college, but once I started, I never stopped.
What were the clubs you were going to in Philly? I assume this was pre-punk?
I started seeing bands when I was 14 (in 1972) at arenas. I got to see both Led Zeppelin and the Rolling Stones on their 1972 tours. Led Zeppelin were touring for the fourth album and the Stones had just released “Exile on Main Street”. Punk was in full swing by the time I was old enough to get into clubs. Luckily, I got to go to The Hot Club, Emerald City, Omni's and The East Side Club.
When did you move to New York? Much of your work in the early 80’s was done in NYC.
I moved in New York in 1982, several years after I graduated from college. By then I had been regularly getting photos in the local fanzines (New Sounds, Terminal and The Bob) and a few things in Creem and NME. I went up to NYC all the time with friends to see bands in clubs, and the arts/performance scene in the early 80’s was so vibrant that it wasn't hard to make the jump from Philly to NYC. I lived in the East Village until 1992. By that time, I had stopped photographing musicians except for the occasional shoot for friends.
What are your recollections of the John Lydon shoot? Was it just you and John taking photos around the city? Was this commission work for something specific?
I had met and worked with Martin Atkins, PiL's drummer, and his band Brian Brain. Martin, Geoff, Bobby and Margot were such fun to work with that I shot them several times. When PiL was going to Japan in 1983, they needed photos for a tour book and Martin recommended me. Those photos were taken in and around the loft space. Martin and John shared on West 19th Street.
Several years before that I was at the Ritz for the show that turned into a riot. I had gotten there early to be close to the stage and was stuck up front while people were hurling bottles and chairs. I did manage to get this shot though.
Were your photos of the Clash in New York shot during their residency at Bonds?
Yes, the photos of The Clash were taken at Bonds during a press conference they held to discuss the issues the club was having with the NYC Fire Department, which was shutting down the shows due to overcrowding.
Do you know what would have been the first work of yours that ended up on album artwork?
The first photo of mine that I was aware of being used for packaging was a shot of Boy George that was used on a Canadian 12” of “Time (Clock of the Heart)”.
How did the shoot with Malcolm McLaren happen?
You know, I don't remember which publication got me hooked up with Malcolm. He was over filming something for the BBC and I was sent to tag along for a day. He kept putting off photos with me until the very end of the day when we all wound up at a recording studio in Times Square. He decided he wanted to do the photos on a ledge on the rooftop 14 stories up. The main thing I remember was trying not to vomit over the side of the building - I was so afraid of falling.
I assume the shots of Shane MacGowan were taken when the Pogues were on tour and playing in New York?
Yes, the photos of Shane were taken in early 1986 when the Pogues were on tour. They played The Limelight later that day. Great gig.
How about your shoot with the Circle Jerks? It looks like its on a harbor somewhere in New York?
The Circle Jerks photo was taken in Boston, most likely the parking lot behind where they were playing. They were traveling with Gang Green. This was either late 1986 or early 1987.
The photo of the Psychedelic Furs in front of the FURS sign - I feel like there's a story there. Did they know to go there, or was it your suggestion?
The Furs photo was taken in the fall of 1980, a morning after they played at Emerald City in Cherry Hill, NJ. The sign was along the way to the club on Route 70. I had a photo pass from the fanzine I was shooting for that night (New Sound) and somehow convinced the tour manager that they should meet me the next day at that sign. I stayed overnight at a friend's place, and the next morning her brother dropped us off in the parking lot and then the band's bus pulled up. We did the photo quickly, they got back in the bus, and off they went. It's not my best composition, but it's a big favorite around Philly because of the location. The sign was taken down a long time ago.
Another interesting photo is your shot of Mark E. Smith and Brix Smith. Mark is actually smiling, which is rare. Any shoots you can think of where the subject was difficult? How do you handle someone who is reluctant, or like Malcolm, being evasive?
I worked with lots of difficult subjects. In general, if I sensed someone didn't like the process of being photographed (and I totally get that) I tried to take the photos as fast as I could and, if possible, to make them laugh. Sometimes I could make it work, sometimes I couldn't.
Let’s talk about some of the SST artists you worked with. Do you have any recollections of shooting Henry Rollins? Was it after a Black Flag show?
The first time I photographed Henry, I was sent to meet him at Bleecker Bob's in the Village. We walked back to my apartment on East 10th Street where I had a studio set up for doing portraits. The next time was a year or two later backstage at Irving Plaza.
How about the Meat Puppets shoot? They were clearly having some fun.
Meat Puppets I first photographed around 1985 up on my roof. The next time they came through, several writers I knew were interviewing them, so we arranged for the band to come to my East Village apartment. I made some big pots of rice and beans, people lined up to take showers, and everyone did press. I invited myself along for the next gig to take more photos and got some great images around Boston.
I believe you also shot Hüsker Dü a few times?
The first time with Hüsker Dü was a quick couple of photos on the street around 1985, and the second time was at their new major label.
What about the Lux and Ivy shoot? Was that for a specific project? What were they like to work with?
I got to do Lux and Ivy for Trouser Press. We were backstage at the 9:30 Club in DC. As you can imagine, they were great to photograph.
How about the Anthony/Flea shoot? It looks like a studio. Was that for something specific? Were the rest of the Chili Peppers there and did you photograph them also, or just Anthony and Flea?
That was summer of 1986. I had been hired by the folks who put on the New Music Seminar (a precursor to SXSW) to set up a studio on site and photograph the panelists. Only Anthony & Flea were there from the Chili Peppers. We were working fast to get everyone on and off set and back to their panels. I got four frames of each person and had an assistant keeping track of who was on which roll of film. Mostly it was non-performing industry folks, but the final day culminated in an artists panel, which is how I got Anthony & Flea. One of those photos turned up in the Chili Peppers' VH1 Behind the Music!
What do you recall about the Redd Kross shoot?
Redd Kross came to my East Village apartment and we walked over to Thompkins Park. They were incredibly fun to work with and had lots of ideas, including one pose on a kid’s slide where they were trying to match a photo of The Cowsills. One of my favourite photo shoots.
I know you photograph other subjects such as flowers/toys/animals. Do you have a preference or a favorite subject?
I do have some recurring subjects - flowers, toys, interesting roadside attractions. Since I've photographed them so often, I'd say flowers are my favorite subject. They're so easy to work with.
I'm included in the upcoming August 2024 issue of Black & White Magazine - the annual portfolio issue. I've been in the magazine several times, and it's always a thrill to be in such good company. These are a few of the things I submitted to them this year.
I have an ancient website in a platform so old I had to write my own code. At some point I really need to update the whole site, but I keep putting it off. Newer work is on Instagram.
Have you ever considered or been approached about publishing a book of your musician photos?
I'd love to do a book but have never been approached by a publishing company to put one out. Photography books are expensive to produce and I'm not a big name in the art world, but hopefully some day. I am handled by Getty Images for editorial use.
Do you know what is your most widely seen or used photo?
I took a photo of Jim Morrison's grave in Paris back when the bust was still there. I licensed it to a postcard company and at last count it had sold 30,000 copies.
This photo of Bono was taken in December of 1980. It was their first time in the US and they only played at a few places. In Philadelphia they were at the Bijou Cafe as an opening act with about 20 people in the audience. When they came back several months later it was as a headliner, and they were on their way up fast.
The photo of Run DMC has been used in a lot of places, including the National Museum of African American History and Culture.
Do you have a favorite photo of a musician or band? What makes it your favorite?
I've got lots of favorite photos so it's hard to narrow it down. We've talked about some of them already, so I'll just include two more: Roddy Frame of Aztec Camera on the Staten Island Ferry, and Divine. My favorite subjects were people who liked being photographed and were comfortable in front of the camera.
Thank you to Lisa Haun for the interview and for allowing us to publish her iconic photos. Find Lisa on Instagram and on her Website.