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photo by nacrowe
it has been said that the lasting cultural impact of 1980s HARDCORE was the touring circuit they networked one city at a time. this circuit of VFW halls, LIONS CLUBS and basements across the nation was the common proving ground for INDIE bands of that same era and underground ALTERNATIVE bands of the 90s. this self-published printing (now long out of print) of his tour journal finds BLACK FLAG frontman HENRY ROLLINS in GET IN THE VAN (1995, 2.13.61) giving the reader a first-hand account of the hardship and endurance it took to get out the message.
in ROLLINS we see a guy that knows his place. he appreciates his good fortune in being asked to join his favorite band at a moment when they sought to reshuffle roles within the band. one theme carried on throughout journal is this theme of isolation and alienation from the straight world he so passionately wished to escape from. the longer he is on the road, the more severe that estrangement becomes, for his former peers (exception being friend IAN MCKAYE) can't appreciate his position. they see a rock star on tour where his actual reality is sleeping in vans, moving equipment, fighting skinheads, fighting concert promoters, lack of food, lack of sleep and lack of money. on top of that they are blazing through under-appreciated markets that don't have a frame of reference for their version of PUNK ROCK quite yet. they are very much the pioneers that got scalped to borrow horrible offensive and culturally antiquated turn of phrase. ROLLINS attitude throughout is one of defiance. he talks about hating his audience, his bandmates and the straight world in general. his misanthropy seems rooted in a deep-seated internal fortitude to bear any burden, carry any cross for his band. what seems interesting in retrospect is how much he has transitioned since the myopia of his early 20s, when much of these entries were written. he is the very embodiment now of adventurousness, traveling tirelessly and choosing to use any of his various platforms (spoken-word albums, documentaries, podcasts, tv shows) to promote the understanding of culture across borders and inclusivity. it is basically the opposite trajectory of MORRISSEY, once the embodiment of transgressive gender politics and now just a sad mouthpiece for the extreme-right in ENGLAND (sighhh). as someone who traveled a lot growing up as a THIRD CULTURE KID, i definite sympathize with his misanthropy and retreat into himself when confounded with radical change and senseless violence during what amounts to his formative years. its comforting to know he transcended such self-destructive ideations. one of my favorite aspects of this book is the friction between AMERICAN HARDCORE bands and their BRITISH counterparts. at the time it had only been a handful of years, but the chasm culturally between these two cousins was pretty wide and ROLLINS spares no quarter in taking on what he considered shitty bands that couldn't play their instruments. i take this as a grain of salt given the fact BLACK FLAG were the tip of the spear for a new more potent wave of PUNK ROCK and for them there was a definite "us vs. the world" mentality, but it is interesting nonetheless on purely sociological grounds. the journal is a bit hard to get through and is quite repetitive but at its most potent you get a real sense of the absurdity of touring life, fan adoration and the unique hardships of being a trailblazer. true, ROLLINS was the 4th singer of BLACK FLAG, but none of the others toured like his version of the band, which makes them the de facto committed to popular memory.
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photo by nacrowe
NYHC: NEW YORK HARDCORE 1980-1990 (BAZILLION POINTS, 2014) by TONY RETTMAN is a compiled series of interviews regarding the origins and influence of the HARDCORE community in NYC by the participants that were there. It would seem that this book is more of a document cementing the legacy of the NYHC scene for and by the community itself, rather than as an entry point to those that were not there. part of that is due to the structure of the book itself.
unlike UNDER THE BIG BLACK SUN (book review linked HERE) which covered similar ground for the LA PUNK scene but gave each participating voice a chapter, this book chooses to go paragraph by paragraph. this results in more participation and coverage at the risk of redundancy as often many people kept repeating the same thing over and over again. the impression it gave me was the uniformity of opinion regarding the history of the scene and that concerned me a bit just in terms of the anthropology of it all. when humans get together and agree on things so thoroughly it usually means either there is a hierarchal power structure playing out or a very strong peer group influence. when i think of the music produced by this scene, especially the celebrated marquee second wave bands (AGNOSTIC FRONT, CRO-MAGS, MURPHY'S LAW, SICK OF IT ALL) what always stood out was the uniformity of its sound and approach. call me crazy, but music is universal and the whole idea of "you had to be there" or "you wouldn't understand because you weren't a part of the scene" is a weak argument for substandard product. i'm not trying to be harsh on the music itself, but at times it is almost laughable when people from this scene talk about how it wasn't fair that bands like NIRVANA gained popularity at their supposed expense. bands from the pacific northwest came from an equally insular scene that celebrated diversity and inclusivity, often at the risk of alienating more conservative elements in their ranks. the NYHC bands where conservative in their approach to their craft and politics, which veered from reactionary to downright thuggish. what i gained from this book was a wider appreciation for the origins of the NYHC scene, which grew out of a legendary punk scene that celebrated a diverse community of artists (PATTI SMITH, TELEVISION, THE RAMONES) and initially attracted a like-minded next wave (BAD BRAINS, KRAUT, THE MOB, THE UNDEAD, THE NIHILISTICS) before the second wave took cemented the rules of the scene from there on out. i made reference to the LA PUNK scene already but it followed a very similar trajectory. to me it is always interesting how with social movements new opportunities beget new rules and both scenes are guilty of such. it is just human nature i guess. i wonder with our modern digital social media world where access to music is immediate via the internet and streaming services whether or not such regional genres can develop apart from one another. i doubt it. in this way i think a book like NYHC: NEW YORK HARDCORE 1980-1990 is a beacon to a mode of culture that can literally never be repeated as technology has erased the potential of such. whether that is good or bad i don't know. my only hope is that it won't lead to more uniformity because then we all lose. 
BOOK REVIEW | "MY DAMAGE: THE STORY OF A PUNK ROCK SURVIVOR" BY KEITH MORRIS & JIM RULAND11/25/2019 
photo by nacrowe
i always found it interesting with movements, whether they be artistic, social or cultural, are entities constantly in flux with new blood constantly reevaluating, interpreting and contextualizing what came before into a new modern amalgamation/expression.
PUNK ROCK is such an artistic/social/cultural phenomena whose innate value and very definition is forever a controversial topic to its many participants and stakeholders. personally, that discussion has long bored me (dating back to high school) and it is refreshing to know that KEITH MORRIS, iconic frontman of 80s HARDCORE legends BLACK FLAG and CIRCLE JERKS, felt much the same as well. KEITH MORRIS makes a point in his memoir MY DAMAGE: THE STORY OF A PUNK ROCK SURVIVOR (DA CAPO, 2016) to elucidate upon why he got into music (i.e. passion and personal expression) and how such a foundation has maintained itself over his career as an under-appreciated (in my opinion) cultural force. it always happens that underground bands like THE VELVET UNDERGROUND, THE STOOGES and THE SEX PISTOLS all had cultural influences that far outweighed their record sales and BLACK FLAG was no different. their ability to refine and harden PUNK's edge into a more potent, punishing musical variant has influenced bands far outside the PUNK community. i'd argue modern METAL music is indebted as much to BLACK FLAG in its ethos and attitude as it is to the doomed riffage of BLACK SABBATH. again, my opinion. one aspect that caught my eye about MORRIS was the energy and genuinely altruistic (to the point of naivete) he put into the community of artists in southern california, irrespective of genre or scene. for every anecdote dealing with members of THE ANGRY SAMOANS, SOCIAL DISTORTION, CRO-MAGS or THE ADOLESCENTS, there are others with members of RATT, VAN HALEN or THE RAVEONETTES. to me PUNK ROCK is almost a religion and its not surprising that core, unassailable members of its royalty are by no means interested in the "punk police" bullshit that well-intentioned fans, and in some case other peers, hoist on the public. he really makes a point that this idea that to be a true appreciator of PUNK ROCK you need to wipe away all that came before is sad, pathetic and just wrong. in his career this came full circle with the formation of OFF! where his younger bandmates had many outside influences that didn't coincide with his. to him it was an opportunity and the idea of a bands as a democracy (both artistically and financially) is something that has been constant in his post-BLACK FLAG career. growing up i got tired of PUNK ROCK fans that just shat on everything else. it just seemed so counterproductive and stunting on a human level to have up barriers like that. its nice to know part of the underground cultural vanguard of the 80s had his ears open to the street. still does. do damage. 
cover by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO on shaolin radio station MAKERPARKRADIO.NYC dedicated to NYHC.
​ ​past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
cover by nacrowe
today's episode of DEER GOD RADIO at 4PM on MAKERPARKRADIO.NYC is all about NEW YORK HARDCORE. full disclosure: i am not originally from NYC or part of this scene, i am an outsider so don't get mad! if you want to know more about the scene from an insider's perspective definitely check out the WORLD ENGRAGE RADIO show hosted by the guitarist of OG staten island NYHC survivors ENRAGE.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo manipulation by nacrowe
genius name. genius band.
seriously just watch. this is why i love METAL. IRON REAGAN are the HARDCORE alter egos of THRASH METAL group MUNICIPAL WASTE, but honestly it's all fuckin' ace. you're welcome. 
photo manipulation by nacrowe
ok i realize that BAD RELIGION by no means is a new band and that in the past i only highlighted recent, more obscure bands in this CHECK OUT THIS BAND series. but really i just felt the need to write about them.
with all this shit surrounding DONALD TRUMP and the dire future of american democracy conceivably going the way of a strong-man dictatorship like those i've lived under in the past (ALBANIA, NIGERIA, MYANMAR and VENEZUELA), its disheartening how few recording artists these days have explicitly addressed this sense of existential dread in an intelligent manner. enter BAD RELIGION. they're whole career has been a rallying cry against corporate greed and fascism since the 1980s, but to continue doing so publicly at THIS stage during THIS political moment with THIS proto-fascist in charge is beyond admirable, its a necessity. i can't express how much i respect them for that, giving an intelligent voice for the opposition is unequivocally HARDCORE, absolutely PUNK ROCK. i would argue it is their finest hour. i just wish other musicians would stop worrying about the music industry and how to maximize their market-share and consumer brand identification and just go for the jugular like these QUINQUAGENARIANS! it bothers me that a group of BABY BOOMERS are the only relevant cultural force out there addressing this sort of thing, but then maybe i shouldn't be that surprised with everyone inwardly concerned about their social media presence and sponsorship/cross-branding opportunities. just a shame. we still have BAD RELIGION thankfully. support them and the organizations they assist. and register to vote. please. 
photo by nacrowe
i just want to get it out of the way that i found SLEATER-KINNEY guitartist/co-vocalist CARRIE BROWNSTEIN's memoir HUNGER MAKES ME A MODERN GIRL (RIVERHEAD BOOKS, 2016) jarring and difficult to follow. as a former english teacher im pretty accustomed to student writing that attempts to cover up a lack ideas with cumbersome structures and awkward word choices. this memoir is full of them and i can't figure out why?
it was meandering to the point of confusion. my feeling is that a reader of an book dedicated to an artist is hoping to appreciate any number of aspects, any of which are good fodder for a memoir. these could include insights on the artist's biography, creative process, context(s), breakthroughs, downfalls, influences, etc. BROWNSTEIN seemed determined to not placate to any of these tropes of the memoir format. she would seemingly take you on a long aside that dithered and wandered nowhere. it was very frustrating as i was constantly questioning what her point was and why i was reading this. and then there was her writing style which was overly and ornamental to the point of being annoying. if she was attempting to show-off her cleverness, she failed miserably. i was able to gleen some information about the formation of SLEATER-KINNEY and how BROWNSTEIN's complicated upbringing informed her relationships with peers and collaborators, but ultimately BROWNSTEIN puts herself center stage which is an odd choice in a memoir. my understanding is that what makes portrait photography and memoirs compelling is not the subject necessarily, but rather the context surrounding the subject. how have outside forces affected an artist's process? what are the internal/external dynamics that contributed to the making of a piece of art? in this memoir things just happen and seemingly she brought it about. came off a bit narcisstic, almost like reading THE DIRT (HARPERCOLLINS, 2001) by MÖTLEY CRÜE, where each of them fight over narritive control by asserting their greatness at the expense of all other band members. same thing with BROWNSTEIN. i was really interested in knowing about their politics which never really came up. for me personally this is odd because i saw them play ROSELAND BALLROOM on February 15, 2003 right after participating in the anti-war protests that day in manhattan. they seemed very much enthused by that palpable energy and voiced their displeasure in GEORGE W BUSH's policies and proceeded to play a killer set. maybe my perception of them was off, given that so few pages addressed any political concerns. instead all of her concerns are rather insular tropes of the misunderstood traveling musician, which is beyond boring to read. a very frustrating read. i love the band and i highly recommend listening to their records. i'd just say wait until CORIN TUCKER decides to get around to writing her story. this book is a hard pass. 
art bynacrowe
last christmas was the perfect time to take stock and celebrate the omnipresent hellscape that is the current TRUMPOCALPYSE we are all living through by playing nothing but 1980s HARDCORE.
at the time i was revisiting the subject by reading two books on the subject: Lexicon Devil (2002, Feral House) by Brendan Muller and American Hardcore: A Tribal History (2001, Feral House) by Stephen Blush. both are oral histories of the scene. the second publication was the impetus for an excellent 2006 documentary on the subject also titled American Hardcore (Sony Pictures). while we are on the subject, i would also recommend the 2014 documentary Salad Days (New Rose Films) on the 1980s D.C. punk scene as well as the SOCIAL DISTORTION documentary Another State of Mind (Time Bomb, 1984) and, of course, PENELOPE SPHEERIS' classic The Decline of Western Civilization (Spheeris Films, 1981). and now i'm just gonna push my luck by also recommending two books by JOHN DOE of X, Under the Big Black Sun: A Personal History of L.A. Punk (Da Capo Press, 2016) and the recently published sequel More Fun in the New World: The Unmaking and Legacy of L.A. Punk (Da Capo Press, 2019). the immediacy of the music is the draw for me. there is a no-bullshit, take-it-or-leave-it aesthetic to 80s hardcore. it is what it is. if you want musicianship, go listen to RUSH or your parent's stuff. if you want a soundtrack to brutality, you are in the right place. politically i don't understand how this music or something in the spirit of it doesn't exist today. as bad as RONALD REAGAN was, he's nothing compared to our current RAPIST-IN-CHIEF. 
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nicholas
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