Throughout the ’90s, one high-octane underground music scene desperately held on to its rebellious roots of power chords, slam dancing and stage diving. Whatever happened to hardcore?
More than three thousand people surround me in the packed Roxy nightclub on West 18th Street in Manhattan. It’s hot. We’ve been dancing for hours. But the wind-milling arms, roundhouse kicks, and javelin-like body tosses on this night in ’97 bear little resemblance to the more subdued moves once executed in Roxy’s early days as a roller disco. Still, we’re grateful the surface below our feet was custom designed to support hard falls.
Instead of short-shorts and go-go boots, the few females in attendance are wearing cargo shorts and Doc Martens. Many of the more buff men have relinquished their shirts, revealing glazed, inked skin and nipple piercings matching the ones in their septums.
The houselights darken. Piercing feedback drowns out the roar of the crowd. After four quick clicks of drumsticks, it’s chaos.
The lights blare again. The headlining band’s singer, Lou Koller of Sick of It All, is at the foot of the stage, a pile-on of fans mounting at his feet.
He screams his first lines of lyrics: “Thinking back on what we had!”
The audience handles the next part: “Wooooah-Oh!”
Distorted guitar parts are blasted out over a catchy groove. Crowd members defend themselves from possessed slam dancers. Koller offers the mic to a crowd surfer. Someone in the pit falls down, and three people quickly scoop him up.
“Hardcore was very real,” says Kevin Gill, a former co-manager of the underground hardcore record label Striving for Togetherness. “It was punching you in the face, where punk was shoving you and saying, What’s up, bro? Hardcore’s about ‘fuck the world,’ but it’s also about the opposite: respecting people.”
After a few minutes of near complete sensory overload, the band strikes the tune’s last note, the crowd cheers, and everyone readies themselves for the next song.
Intense, original and cultivating an infectious sense of community, hardcore music began its reign of underground terror nearly forty years ago. Though its fabric extends far beyond traditional sonic labels, when it emerged in the late ’70s hardcore was simply defined as a more rambunctious, faster-paced form of punk rock. Merging with thrash metal in the ’80s, it experienced both jumps and dips in popularity. But throughout the ’90s a slew of fresh faces officiating a polygamous marriage between punk, metal and hip-hop reignited the scene, making hardcore the biggest it’s ever been in and around New York City.
“The mid-90s was the best,” says Tim Williams, front man of the Long Island band Vision of Disorder. “There was no makeup. No facades. No laser-light shows. The music came from an honest place. And I know these people personally. They weren’t talking shit.”
* * *
In a 2015 New Yorker article about hardcore in New York, Kelefa Sanneh wrote that it “was born as a double-negative genre: a rebellion against a rebellion. The early punks were convinced that rock and roll had gone wrong … But when punk, too, came to seem lame, the hardcore kids arrived, eager to show up their elders. The idea was to out-punk the punks.”
Clusters of hardcore bands, primarily out of Los Angeles and Washington, D.C., emerged before a New York City scene germinated on the Lower East Side, circa 1981. Set on seedy Avenue A at the corner of Seventh Street, A7 was the first Manhattan club to regularly host hardcore shows. Local bands like Agnostic Front, Cause for Alarm, Murphy’s Law, Antidote, Kraut and others were welcomed into its tiny, kitchen tile-floored back room, inciting slam dancing and sing-alongs from their fans, which early on numbered no more than a few dozen – predominantly white males in their late teens and early twenties, with a low center of gravity, swinging their arms and banging into each other while carrying crowd surfers and absorbing stage divers. They looked like embattled rugby players in various states of worn-out uniform, with no ball or decipherable goal. A source in Tony Rettman’s oral history book covering ’80s New York hardcore (NYHC, as it’s known) half-joked that those early participants “all had mental problems and they all lived in the street.”
The melee’s soundtrack featured songs faster than anything produced in rock before it, with anti-establishment lyrics preaching social consciousness and standing up for oneself. Sometimes the bands didn’t play their songs correctly. Guitar and vocal cords failed frequently. But none of that mattered. The aggression discharge within the tight space was so captivating that nobody stopped moving, or having a good time.
Out-of-towners and eventual storied hardcore groups such as Black Flag and Bad Brains were also fan favorites at A7. Before adopting a hip-hop sound, The Beastie Boys cut their teeth at the club too. As the ’80s progressed, CBGB on Bowery, The Ritz on East 11th Street, and a few other Manhattan clubs began booking hardcore shows.
At about that time, Kevin Gill, raised in Whitestone, Queens, “just dove headlong into it.”
“Hardcore is raw reality,” says the former record label manager, now 44. Intensely upbeat, and tall with a closely shaved head, he adds, “It’s regular people with regular problems.”
Like many NYHC fans – myself included – Gill first latched on to heavy metal. “From Anthrax and Metallica,” he says, “it’s a very short journey to Sick of It All, Killing Time, Merauder” and other ’80s hardcore bands he obsessed over after some high school friends provided him copies of their recordings.
But as the scene continued to swell, toward the end of the decade Downtown club managers became less willing to contend with increasing violence and injuries befalling audience members because of slam dancing, stage diving, and other unruly behavior, which could spur lawsuits. Lenny Bednarz, a member of noteworthy hardcore bands Without a Cause and Fahrenheit 451, remembers observing two concertgoers entering a mosh pit swinging a sock full of batteries during one show. He says there was also a brief “trend where people sprayed mace in the clubs.” Arthur Smilios, a member of Gorilla Biscuits back in the late ’80s, says he observed a “gang mentality” coagulating at the time, which caused such a frequency of large-scale fights at CBGB that the historic club suspended its weekly Sunday matinee hardcore shows. Smilios says that was New York hardcore’s “low point,” when many regulars disappeared from the scene. “It wasn’t fun anymore,” he adds. Smilios himself left Gorilla Biscuits, in part to pursue a college degree, but also because of the hardcore scene’s mangy turn.
Because small clubs were shuttering their doors to hardcore or had closed altogether – like A7 in 1984 – Gill says there was “no point of entry for bands to grow.” But by the mid-90s he and many other fans would get the chance to experience a new brand of hardcore, appealing to an even broader demographic.
* * *
As some dedicated NYHC bands trudged on and found places to play, they began to intertwine old-school punk-based hardcore with thrash metal and hip-hop, crafting fresh sounds that rang throughout the underground, most frequently at the Bond Street Café, located on the Lower East Side, just a few blocks from the former site of A7. “That was the place,” says Gill, who remembers it as “a crack in the wall.” “It was hardly a venue,” he continues, “but it was amazing. How many music venues in Manhattan at the time would let a bunch of maniacs stand in front, smoking and drinking before a show and then for three hours just let you lose your shit?”
“The energy at those Bond Street shows was electric,” says Mark Scondotto, former singer for Shutdown. At five-foot-two in his early teens, he’d accompany his older brothers to the club, who’d protect him from 150 other wily slam dancers and stage-diving ruffians. “You walked out of there feeling like you were on a roller coaster. The [mosh] pits were sick.”
Much of hardcore’s appeal was manifested not in the music, but in the atmosphere at a show, typically set in a tiny club with the band inches from fans’ faces.
“The idea of a singer handing the microphone out to people in the audience, people jumping on stage … It’s astounding,” says Frank Pavich, director of “N.Y.H.C.” – a film that documented hardcore’s mid-90s era. “It’s like taking that super-duper rock star and reducing it until they’re one of us and we’re one of them.”
“I have no musical ability whatsoever, but if someone’s going to hand me the microphone, it makes me feel like I do. It makes me feel like I’m a part of it,” says Virginia Kress, 44, one of a handful of females who were regulars at NYHC gigs back in her twenties. “It’s like an awakening.”
I too was tractor-beamed into the scene, an angst-ridden teen from Astoria, like so many others feeling as though I was suddenly immersed in a community, or even a movement, for the very first time. And all of this was available to us for the cover price of about eight dollars.
Gill says hardcore shows have “ruined regular stuff” for him. Now a San Francisco resident, he bemoans the prospect of paying $75 to see a more commercially successful metal band like Slayer perform at a venue like the 2,300-seat Warfield. “I almost wish I never went to hardcore shows,” he says.
By the end of 1992, several more clubs began providing space to hardcore promoters, including Brownies, also on the Lower East Side, and The Wetlands Preserve, directly across town in TriBeCa. CBGB ran Sunday NYHC matinee shows again, and though the Bond Street Café met an untimely demise in 1994, Coney Island High – located on St. Marks Place, with double the capacity of Bond Street – more than picked up the slack shortly thereafter.
Downtown Manhattan was hardcore’s epicenter in the ’90s, but the music’s allure spread throughout the outer boroughs, as well as Long Island, New Jersey, Upstate New York, Connecticut and beyond, birthing mini-scenes where more clubs could prosper. Castle Heights on Northern Boulevard in Corona, Queens – where I worked as a soundman for three years – was one such place. “We had our own scene,” says Kevin “Castle,” as he’s known throughout the community. Now 48, he is an older brother of Shutdown’s Mark Scondotto, and was a show booker at Castle Heights for ten years. “By ’94, ’95 we were doing three or four hardcore shows a week. We couldn’t do enough shows, there were so many bands.”
Record labels began to come around too. The Brooklyn hardcore band Biohazard released Urban Discipline in 1992 through Roadrunner Records, an independent label that went on to house a number of NYHC bands. Biohazard’s album would sell more than a million copies worldwide, and their video for “Punishment” – featuring many of the scene’s most recognizable faces rocking out behind the band as they performed the song – became the most-played video ever on MTV’s late-night program “Headbangers’ Ball.”
“Suddenly people look at that video and go, ‘Wow, what’s going on in New York?’” says Drew Stone, who produced the clip. “All the kids in New York that saw that video thought, ‘I gotta make a band.’”
In ’92 Kevin Gill became the American distributor of a tiny, German-based record label called Striving for Togetherness Records, or SFT for short. A couple years prior, he’d befriended the members of Without a Cause, a largely unknown, hard-hitting band from Manhattan’s Upper East Side. “They were playing the worst shows,” Gill says. “I remember they played like a Chinese restaurant or some shit.” He shopped the Without a Cause demo around for distribution, but “Two or three labels were like, ‘Thanks, but no thanks.’” Then, trying his best German accent on for size, Gill recalls the owner of SFT writing back to him: “Yah, this stuff is sah-lid. Maybe we can do a seven-inch.”
As the hardcore scene regenerated, Gill became the go-to guy for up-and-coming bands looking for a deal. There was Vision of Disorder (VOD) from Long Island, featuring Tim Williams, whose vocals oscillated between a lazy drawl and a primal scream. Fahrenheit 451 formed out of the ashes of the disbanded Without a Cause, mixing hip-hop and hardcore with an amiable rock bend. New York hardcore’s premier party band of the ’90s was No Redeeming Social Value, out of Queens, whose seven-inch record Hardcore Your Lousy Ass Off sported a copy of singer Dean Miller’s bare rear end with “HARDCORE” scrawled across its cheeks, written in black marker by his younger brother and guitarist, Kent.
“Playing good music is one thing, but making people laugh is a whole other thing,” says Kent Miller, now 39. With sing-alongs about the largest bottle of malt liquor imaginable – “New 64” – and watching the cutest girls in school date jerks – “Your Boyfriend’s a Guido” – he and his brother admit that No Redeeming Social Value, who still perform every so often, are not terribly talented musicians. But the band’s only real goal, they say, has always been to ensure “the audience has a good time.”
“We threw whatever we could get our hands on at the audience,” remembers Dean Miller, 45, spouting a list of projectiles that included confetti, money, bologna and lawn chairs. “One time we told the audience we’ve got seven-inches to give away, or fish,” recalls Kent. “‘What do you want?’ ‘FISH!’ So we gave it to them.” Dean says by the end of the night there were fish parts scattered throughout the club, some of which rotted overnight underneath arcade games and in other nooks.
He heard that “The Godfather of Hardcore” himself, Vinnie Stigma of Agnostic Front, performed at the same venue the next night and wondered aloud why he smelled such a foul odor. Dean recalls: “Someone told him, ‘No Redeeming Social Value played here last night, and threw fish at the crowd.’ He said, ‘Oh, well that figures.’”
The band also gained such a widespread reputation for performing naked that, when they traveled to Germany for a gig, the show’s organizer offered them a financial bonus if they did so again. “We would’ve done it for free,” says Dean, “but if you’re going to give us extra money to do it, we definitely will.”
Hardcore also splintered into an impossible number of sub-genres, including “deathcore” (a combination of death metal and hardcore), “noisecore” (hardcore with screaming vocals and sizzling accompaniment so distorted that the melodies are virtually indecipherable), and the “post-hardcore” movement, which offered more mature and slightly less-aggressive songwriting. The Brooklyn band Candiria miraculously mixed several types of heavy metal, along with hip-hop, jazz, psychedelic rock and other styles, sometimes with Latin American or African backbeats. Dog Eat Dog earned international fame with straight rap lyrics over traditional rock accompaniment and a saxophone thrown in for good measure. Crown of Thornz, according to front man Danny Diablo, who in the ’90s went by the stage name Lord Ezec, was “like Black Sabbath meets Rush meets the Cro-Mags.” Meanwhile, old-schoolers Sick of It All released back-to-back records with a sign-of-the-times groove and, according to bassist Craig Setari, a “darker” edge. They even performed on a bill with legendary New York City M.C. KRS-One.
CIV, an NYHC super group comprised of three former members of Gorilla Biscuits – Anthony Civarelli, Sam Siegler, and Arthur Smilios – and Quicksand guitarist Charlie Garriga, formed almost accidentally in 1995. “CIV was an anomaly,” Smilios says, explaining that hardcore vet Walter Schreifels, then on tour with Quicksand, wrote a bouncy, fun-and-games song called “Can’t Wait One Minute More” and another titled “Et Tu Bruté,” hopeful that Civarelli would gather some troops to record and release the two tracks on seven-inch vinyl. Civarelli, who had settled into life on Long Island as a tattoo shop owner, took some convincing, but with assurances from Schreifels that the whole project wouldn’t last beyond the first recording, he eventually agreed.
After the single was pressed, an associate of the group, Marcos Siega – a young director looking to shoot a clip he could use as part of a résumé – sold the CIV members on the video concept for “Can’t Wait One Minute More.” In it, Civarelli lip-syncs to the song while posing as a talk-show host, à la Jerry Springer.
The video wound up in the hands of Quicksand’s manager who loved it and, as Smilios remembers, “all of a sudden a bidding war started between record labels over a band that didn’t exist.”
CIV recorded the album Set Your Goals for Atlantic Records’ Lava imprint, and the “Can’t Wait One Minute More” video was an MTV hit. “By the time CIV was doing shows, we had the record [and] were signed to a major label,” Smilios says. “It was weird.”
* * *
I went to my first NYHC show in 1996 after getting hooked on hardcore a year and a half prior. One of my favorite bands, Madball, was the headliner. I recall approaching the venue – the Wetlands Preserve on Hudson Street – with my pals, amazed to see the band’s singer, Freddy Cricien, standing on the sidewalk, a few feet away from me, talking to fans and his friends. That night was also my first glimpse into a true NYHC mosh pit, a far cry from what I’d seen on MTV when they covered grunge shows featuring bands like Soundgarden, Nirvana, and Pearl Jam. At those concerts fans seemed to mostly jump up and down, tamely. On the other hand, the hardcore “dancers,” as they’re called, appeared rather menacing at first, with an updated style of moshing comprised of shadowboxing and karate kicks thrown to the beat. But I soon realized nobody was getting hurt; all I saw were smiling faces and all I heard after each song was thunderous applause, for the bands and even for some of the more on-point mosh pit dancers. It wasn’t long before I became one of them, surprised at my own willingness to risk bodily harm.
“Hardcore’s not the best music, but it has an energy that isn’t like anything else,” says Danny Diablo, formerly of Crown of Thornz, another band I enjoyed back then. With so many tattoos they’re beginning to threaten his eyelids, Diablo is now a hip-hop artist and says hardcore’s roots stem from resilient city dwellers who “take everything head on.” He adds, “They don’t call it ‘softcore.’”
Few can claim to have embodied this ethos as well as Frank Pavich did during the production of his “N.Y.H.C.” documentary. A native of Douglaston, Queens, known for its golf course and sprawling multi-million-dollar homes, Pavich, now 43, met “a strange, tall, lanky, hilarious guy” named Kevin Gill – who provided Pavich with NYHC mix tapes – during his senior year of high school in 1991. As Pavich puts it, Gill “opened up my eyes to a whole other world.”
Four years later, Pavich, a well-spoken, bespectacled son of Croatian parents, decided to shoot a documentary about the hardcore community that, according to him, “completely ripped off ‘The Decline of Western Civilization,’” a film about the Los Angeles punk scene of the early ’80s, directed by Penelope Spheeris.
Admitting now that he had no idea what he was doing, Pavich enlisted a forty-something-year-old cameraman, completely oblivious to the concept of hardcore, to capture the footage. What the cameraman lacked in New York underground music acumen he made up for with his equipment ownership, including a $100,000 Betacam, used primarily to film news stories. Pavich paid him with “credit, copy, and comps” – a credit in the film, a copy of it, and complimentary meals – and helped shield the camera from possessed crowd members and performers throwing themselves in every direction.
Pavich shot close to 44 hours of interviews and performances over the course of two weeks in the summer of ’95. “I’d never edited anything before, so it took forever,” he says. “It was old-school editing, from tape-to-tape.” It didn’t help that the aged editing machines broke down on a weekly basis either.
The complete ninety-minute film wouldn’t see a release until 1999. “The movie’s not for everybody,” he says, “but it’s there and I still love it. I still love those bands and everyone that was involved with it.”
Pavich learned “what to do and what not to do” in filmmaking, and his second feature-length documentary, “Jodorowsky’s Dune,” released in 2013, was short-listed for an Oscar.
One of the standout subjects in Pavich’s “N.Y.H.C.” is Virginia Kress, prominently quoted in the film’s trailer as saying, “I don’t want to be, like, forty, and have missed out on anything.” Then 23 years old with blonde hair and three facial piercings, she shyly stumbles over her words at times in her interview. After displaying a tattoo etched into the inside of her bottom lip that says ‘SUFFER,’ she coyly smiles and says, “It’s a VOD song. It’s my favorite.”
Today she is a friendly, stay-at-home mom who gave birth to her son six months prior to her fortieth birthday. “I don’t think I missed much,” she says confidently. “I feel like I lived through my twenties and thirties.”
Kress says she attended an average of three hardcore shows a week in the ’90s, attracted to the music itself, but also “the family atmosphere” at shows. “I knew pretty much everyone in the bands just from going all the time,” she says, adding that she decided to skip out of college so she could afford a car and travel to out-of-state shows.
“Looking back I probably made the wrong decision,” Kress says, before laughing. “Actually, no, I don’t regret it. I gotta be honest.”
When driving even as far as New Orleans or Detroit for gigs, Kress would bump – or slam – into friendly faces among the fray. She was always at home at a hardcore show.
“Once you found your little hardcore circle, they were your brothers,” says Cesar Ramirez, former guitarist of District 9, a band that emerged out of the socioeconomically challenged South Bronx. “You had each other’s back and you did everything together.”
Ramirez, 39, befriended the bass player for District 9 at a neighborhood music store. After a failed tryout, he obsessively studied his instrument, winning a spot in the lineup one year later, at the age of fifteen. Soon, District 9 became a standout act in the scene, in spite of their propensity to skip gigs and get high in the Bronx instead of lugging their instruments onto the subway to Downtown Manhattan and elsewhere. “We were trying to put soul into the shit,” Ramirez says about District 9’s musical style – a combination of metal and hardcore punk, with an occasional jazz break and rhyming lyrics that were virtually interchangeable with popular gangsta rap songs of the era.
Ramirez reminisces about one night when District 9 traveled ninety minutes north of the Bronx to perform in New Paltz, New York. He says everyone in his clique, including himself, was smoking marijuana and drinking beer throughout the evening. (His band’s singer, Myke Rivera, recalls them tripping on mushrooms as well.) But Ramirez was the only one who had to report to school the next day. “It was crazy shit, but it was fun,” he says.
Like other eras in rock history, partying in the hardcore scene claimed its share of victims, including Ramirez’s chatty, stocky bandmate, Rivera, who, through laughter in “N.Y.H.C.,” told stories of his troubled South Bronx childhood. He says in one tale that his mother “beat him into a fever” with a broomstick topped with a wire hanger.
Last May I called Rivera for an interview. He agreed to it, telling me about his alcoholic father – “the kind who drank fifty-sent beers at seven in the morning” – and his mother – a “straight Puerto Rican Chihuahua savage” – whose last days Rivera missed because he was on a cocaine bender. Rivera had at first wished to postpone our chat because he wasn’t feeling well, blaming a chest cold. It turned out he had suffered a mild heart attack and spent a few days in the hospital. “My body’s telling me, ‘You fuckin’ up, dog,’” he said when he felt well enough to talk.
In July he told me he was on his way to Pasadena for a 30-day stint in drug rehab. Just this past weekend, he informed me that he’s moved back in with his wife and children – clean, sober and enrolled in the Twelve-Step Program.
* * *
It’s April 1997 at the Roxy and my friends and I are gathered near the back of the club as Sick of It All performs their encore. The vibe all night long has been one of revelry, passion and pride. It’s everything New York hardcore is supposed to be, but on the grandest scale we in the scene have ever witnessed. The band was interviewed that day by Kurt Loder for a spot on MTV News, and more than three thousand fans are in the house – “the high-water mark in Sick of It All’s career in New York,” as bassist Craig Setari told me this past spring.
But steps in front of me, an argument unfolds as a petite young woman in a white tank top screams at a muscle-bound dude, “You hit me, asshole!”
Looking left and right, palms up, at his two equally large, sweaty and shirtless male companions, he says, “What’d you call me?”
The man rares back his right fist and punches the girl in the middle of her face, dropping her with a thud.
As my friends and I flee the scene, it’s difficult to tell who’s fighting in the crowd and who’s trying to break the scuffle up.
As I tell Setari the story during our recent interview, a pained expression comes over his face.
“Why would anyone want to do that?” he says.
Though I wasn’t aware of it that night, the incident was a sign of things to come in hardcore.
* * *
“In any social movement there are ebbs and flows,” says Manhattan-based film producer Drew Stone, “and hardcore was no different.”
As the world celebrated the new millennium, “nu-metal” dominated the American rock charts. Many in the hardcore scene viewed it as a more vanilla version – or, as Frank Pavich put it, a “bastardized” brand – of the raw music they preferred. But while few listeners knew it, acts that soared during this time, like Korn, Limp Bizkit, Staind, Papa Roach and Linkin Park, were inspired by the same pioneering artists that lead to the underground hardcore sound of the ’90s.
“Bad Brains kicked down a lot of doors; Biohazard kicked down a lot of doors,” says Stone, who’s working on a new documentary film about hardcore. “But it’s the bands that walk through those doors that get the accolades.”
Meanwhile, the factors that generated momentum for the scene’s rebirth in the early ’90s proceeded in the exact opposite direction toward the end of the decade.
Coney Island High closed in 1999, after being in business for a little over four years, due to the owners’ inability to afford rent. A 677-square-foot renovated condo unit in the same building today runs $1.093 million.
A real estate developer purchased the building that housed The Wetlands Preserve, and, after the club’s last show in 2001, a high-end condo went up there. That building has since boasted tenants like Jon Stewart, actor Jeremy Piven, and Mike Piazza, former star catcher of the New York Mets. For years a designer bedding store was located on the ground floor where Wetlands Preserve stage divers and slam dancers once ruled.
The Bond Street Café is now BONDST restaurant, a chic sushi spot with $16 craft cocktails, and, in the building’s exclusive residential section above, the average rent for an apartment exceeds $11,000 a month.
A John Varvatos boutique sits where CBGB thrived for three decades. The owners of the high-end retailer have kept the club’s recognizable air ducts – with the patchwork of band stickers smacked onto them throughout the years – in place. There are framed collages of uncountable, partially shredded gig flyers on the walls too. Shoppers can ring up a Guns N’ Roses graphic tee at the original CBGB bar, now outfitted with cash registers, for $80.
Provoked by the closing of Roseland Ballroom in 2014, the newspaper amNew York proclaimed that the city’s “once-storied live music scene” had altogether perished. “Condos have replaced clubs,” the column went on, “and European bankers rather than struggling artists are more likely to be seen on dance floors.” The Lower East Side, once home to the glut of venues that welcomed hardcore bands, has been among the most rapidly gentrifying sections of the city since 2000.
“Once New York hardcore lost its home, you didn’t see the same people every weekend,” says Dean Miller of No Redeeming Social Value. “Then, you’re not in communication with people, and what was once on solid ground becomes very shaky.”
Kevin Gill, for example, left the familiar tidings of Whitestone, Queens, for San Francisco fourteen years ago, and with that move ended his stint purveying over American operations for SFT Records. Since then he’s worked a couple of jobs in the video game industry, has been involved in independent wrestling leagues, primarily as a commentator, and hosts a podcast dedicated to those interests, as well as hardcore, of course.
Gill still sells some dusted-off hardcore merchandise left over from his SFT days. Last year he reissued VOD’s Still EP on its twentieth anniversary. “I’m not making a living, but making the rent,” he says.
Another force at work against hardcore was that, once others saw there was money to be made in the genre, an influx of imitators entered the fold. Many such acts wrote a simpler, yet more aggressive style of hardcore, which became exhaustingly common in the latter part of the ’90s. Kevin Castle, the former Castle Heights show booker, says, “There was a tough-guy-posturing thing going on to that type of music. I’m sure the majority of people at shows weren’t looking to hurt people, but there was definitely a contingency that were.”
Lenny Bednarz, formerly of Fahrenheit 451 agrees, noting that as the decade progressed, he saw “more cheap shots” in the form of slam dancers “going out of their way to hit others,” once again making hardcore fans think twice about attending shows.
Similarly to New York hardcore’s formative years in the ’80s, many of those involved in the hyperactive ’90s scene were in their teens and early twenties. By the time the calendar flipped to 2000, band members and fans alike were experiencing sobering wake-up calls.
“Getting injured back then was a badge of honor,” Castle says of the ’90s, “but if you’re a mechanic or you work with your hands, and you’re 26, 27 years old, you can’t be out of work for two months because you got hurt at a show.”
Castle provides yet another perspective on the New York scene’s loss of luster. “I think when it really started to fall off was post-9/11,” he says. “There was just a depressed feeling throughout the city. People were scared to go out.” He adds that many shows were run as fundraisers for victims’ families, which were good causes, but served as reminders of the state of the city. In the months after the terror attack, Castle spoke with managers of clubs around the city that were suffering just as much as Castle Heights – which closed in November 2002 because the building’s owner refused to allow a club to operate out of the space any longer.
Though he considers himself one of the scene’s prime supporters and spokesmen, Sick of It All’s Craig Setari is candid when it comes to the long-term financial viability of the genre, and its community: “No matter what we talk about – violence, this wave and that – [hardcore] is not pretty; it’s not meant to be this commercially successful thing … But all in all it’s a great communication medium; I think the last great American subculture.”
Rather than mourn the loss of most of the bands and all of the clubs he filmed in ’95, Frank Pavich – now a resident of Geneva, Switzerland, currently working on a third feature-length documentary – opts to celebrate the genre’s resiliency and the connection it generates between people. “It’s really like the one thing that to this day has not been corrupted by mass media,” he says. “It hasn’t been co-opted [and] when you see someone walking down the street wearing a New York hardcore t-shirt, it’s like holy shit.”
There were many such shirts, pulled down over bald heads and salt-and-pepper goatees, covering midsection excesses non-existent twenty years ago, at this spring’s Black N’ Blue Bowl. Formerly known as the “Super Bowl of Hardcore,” the event is an annual, all-day show at Webster Hall – the former site of The Ritz in the East Village. No longer the slender kid with a chain wallet and baggy skater jeans, I floated nostalgically through the dimly lit venue, bumping into performers I’d run sound for at Castle Heights more than fifteen years ago, and shaking hands with some of my biggest musical heroes.
Freddy Cricien, 40, front man of Madball, who first climbed a stage at the age of seven when his half-brother, Roger Miret of Agnostic Front, allowed him to sing for his fans, is an organizer of the Black N’ Blue Bowl. Kent Miller of No Redeeming Social Value, who attended “The Bowl” this year, says the gathering is “what’s keeping the scene alive.”
After a slow start, Webster Hall was rocking by the time acts like Leeway and Madball, both founded way back in the ’80s, hit the stage. A massive mosh pit opened up in the front of the house, though in between sets I couldn’t help but notice there were a couple of men doubled over, out of breath. (Admittedly, if I’d been among them, I would’ve been in the same condition.)
Cricien, who has two kids, four years and four months, says that when he was younger and touring with Madball, he never cared for the business side of music. But “being a hardcore kid alone doesn’t pay the bills,” he now knows, so after 33 years in the scene, Cricien has become a self-styled NYHC “representative” and “curator.”
“People are big on the nostalgia factor,” he says of hardcore these days, lamenting over the promoters never interested in the genre before who now look to capitalize on it. “I don’t want to sound bitter,” he continues, “I back anyone who backs me, but it’s become trendy.”
Virginia Kress still attends shows once in a while, recently witnessing No Redeeming Social Value and Madball share a bill. She says a few friends remarked that night, “It feels like ’95 again.”
“Those were the last wild days of New York,” says Cricien, when he and his comrades “got away with a lot of shit.” But there are signs that point to yet another possible rebirth.
Three years ago Ben Ratliff wrote in the New York Times, “I haven’t seen so much energy around the hardcore scene in New York in a long while.” Chris Wynne, publisher of In Effect magazine – a top hardcore fanzine he used to hand-deliver to record stores before re-launching it on the web – says, “New York has tons of bands.” He points to A Breed Apart, Manipulate, Ache, Regulate, Out. Live. Death., and Enziguri as some of the more notable new acts that have released demos, but not yet earned record deals. Still, they are attracting a younger set of fans to the community, plenty of who came out to this year’s Black N’ Blue Bowl.
Wynne notes that Brooklyn is now home to more venues open to hardcore shows than Manhattan. Of the potential for a long-delayed fourth wave of New York hardcore, he says, “Time will tell … The lifers are always going to be there.”
For Dean Miller of No Redeeming Social Value, time and place doesn’t matter at all when it comes to the reverence he has for the community he’s been a part of for nearly thirty years. “If everything went away tomorrow, all the bands, all the venues, hardcore was banned from the world, the guys in my band would still be getting together in my basement to play tunes,” he says. “We never joined a dart league, a bowling league. That’s what hardcore is for us.”