parodies by nacrowe
one reason i love having a radio show is that it gives me an excuse to investigate unfamiliar music genres really take a deep dive. not being from NEW YORK and having most of my musical education take place outside the country, NYHC was something i was tangentially aware of given the influence of the scene on other bands (BEASTIE BOYS, RANCID, METALCORE groups). around the time of the airing of this episode i had finished TONY RETTMAN's book (review linked HERE) on the subject NEW YORK HARDCORE 1980-90 (BAZILLION POINTS, 2014), which i highly recommend.
full disclosure: i am an admire of the NYHC scene from afar but by no means am i an expert or a participant. if you are looking for that, i highly suggest you seek out the WORLD ENRAGE SHOW on MAKERPARKRADIO.NYC and specifically the memorable EPISODE with special guest LOU of SICK OF IT ALL.
i had fun doing the show and the prep work for it. enjoy.
photo manipulation by nacrowe
in the right circumstances i think its all good when a corporate entity that has a relationship with a SUBCULTURE attempts to get some good marketing going by using its platform and advertising muscle to promote it.
such is the case with VANS which obviously has a long-standing relationship with the SKATE, SURF and BMX communities that has only flourished since the 1960s. makes perfect sense for them to develop a series of performance videos to showcase talent associated with those scenes.
kudos for creativity to whomever decided to have the bands play in a shoebox. its a great idea. i look forward to watching these whenever they come out irrespective of the band.
the following embedded below are what i consider the highlights of the ongoing SIDESTRIPE SESSIONS series. enjoy!
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.
tonight's episode of DEER GOD RADIO at 8PM on MAKERPARKRADIO.NYC is all about the mercurial genre of POST-HARDCORE from the 1980s onward.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST and THE SYNTHESIZER SHOW are available here at the DEER GOD website.