This Halloween season finds New York City in a state of awkward transition to whatever post-pandemic world will eventually be shaped by the COVID outbreak, which continues to strut and fret its prolonged hours on the world stage.
Our city, the epicenter of the Coronavirus outbreak, is setting a template for recovery and establishing post-pandemic standards that make sense. It’s still a struggle in a lot of ways. Companies are struggling to hire enough workers to keep business going, while also struggling with return-to-office plans for a workforce that does not want to work in an office five days a week. “The Great Resignation” continues to churn as companies compete for workers at all levels and even entry-level positions can become bidding wars.
Public transit is far from being able to handle a return to normal. Our transit system was falling on its face before the pandemic, now bus and train routes are regularly canceled for lack of drivers and train operators. Crime and quality of life continue to be a persistent problem.
New York has always been a place where sin is welcomed and the need for law and order is informed, if not restrained, with the libertine permissiveness that has characterized our Gotham since Dutch times. But there is a need for balance. A law-abiding person should be able to walk down the street with an open can of beer, they shouldn’t be stepping over piles of homeless people and their rancid detritus on every corner, or robbed or worse on their way home from a night out.
New York has reached an imbalance; the tolerance for the night life and marijuana has been accompanied by a very real and dangerous rise in real crime. People find themselves being robbed by criminals that a few years ago would not have been back out on the streets from their previous arrest.
But amid this tumult, New York is working to return. While people are understandably in no hurry to return to offices, people want music, and theater, and art, and even want to watch sports teams like the New York Jets. These regular joys have been forcibly dormant by a historic pandemic, and should return with a historic vengeance.
So good news comes this Halloween season with the return of Green Hell, New York City’s Misfits cover band that has entertained dozens of people since 2004 (full disclosure: I have served as Green Hell’s bass player since their second show in 2004, giving me more rights to claim “Original” membership than Doyle of the Misfits). Green Hell has two shows lined up on Halloween weekend: one at Manhattan’s excellent Otto’s Shrunken Head and the other at The Shillelagh Tavern in Astoria Queens.
Misfits songs are fantastic anthems for any Halloween, and it feels very fitting that our modest band of middle-aged punk rockers get the band back together as the Coronavirus is (hopefully, for real this time) on its way out. They are fun to sing along to and not difficult to learn how to play. And no matter what nonsense the “Original” Misfits get into, these songs have stood the test of time.
Green Hell was last seen in 2016, and two members who live far out of town are braving the skies to fly back to New York for two shows. In true Green Hell tradition, we will have time for only one rehearsal, and in true Green Hell tradition I can guarantee that absent of someone’s on-stage death, we will play a tighter set than the Misfits.
We’ll be in excellent company both nights with some of the best bands one could hope to share the stage with, and I will not be satisfied until Green Hell singer Marc Sucks shouts “Fuck the MTA” with Shillelagh owner Russ.
New York continues to suffer the effects of a global pandemic and domestic neglect. This Halloween, as it resists both the death dirge of disease and the growing savagery of its streets, it will have the sounds of raucous horror punk rock to voice its orgiastic rage against an uncaring world.
In the midst of a brutally chaotic and violent week, we lost one of our fiercest and funniest voices with the death of Kathy Shaidle in Ontario on January 9.
Kathy Shaidle was an opinion writer, poet, film, and cultural critic and unrelenting defender of free speech. She was a conservative Catholic who made enemies on both the left and the right. The biography in her memoir Confessions of a Failed Slut reads “I’ve been called one of the nation’s worst racists by the head of the Canadian Jewish Congress, and a tool of the Zionist conspiracy by Stormfront.”
Oftentimes, more conservative commentators discuss the arts and modern contemporary culture as a kind of alien civilization so foreign and depraved as to escape all comprehension. Part of what made Shaidle so effective an advocate for conservative ideas is that she wrote about contemporary culture fearlessly and with authority. Her time in the punk rock world gave her familiarity with counterculture and informed her arguments in favor of tradition and faith. She had been there, done that, and had the t-shirt.
Few conservative columnists could discuss “The Rocky Horror Picture Show” with deft expertise or delve into the memoir of Sex Pistols guitarist Steve Jones with a knowing eye, but Shaidle could do all of that and make you laugh out loud. Even if she did not convince you, she would present a great argument with logic and, most importantly, a sense of humor that never quit.
She titled her blog “Five Feet of Fury” in reference to her short stature. Whether you agreed or disagreed with her views, she was always fun to read. She had a poet’s eye for language—she published several volumes of poetry—and became a devout Catholic later in life. While religious, she did not preach, and modern secular sanctimony was her most common foil.
I exchanged emails with her once, six years ago, after she linked to one of my articles in her column. The article was in a now-defunct Web site, and she mentioned she was a fan of the site and was jealous I wrote for them. Getting a link and compliment on opinion writing from Kathy Shaidle was like having Michael Jordan admire your jump shot or seeing Lenny Bruce laugh at your jokes. It was a boost of morale that has stayed with me years later.
A year ago, Shaidle revealed she had Stage 3 ovarian cancer with a piece titled By the Time You Read This, I Will Be Bald. She wrote, “After more than 50 years, I finally got my hair to look just the way I wanted. So of course I got cancer.”
Over the past year, her spirit and humor did not waiver and she informed her readers of her journey through ovarian cancer. She neither wallowed in self-pity nor attempted to give her readers a rose-colored view of this journey. Earlier this month she posted a note that she would soon be in hospice. A few days later, a self-penned obituary appeared online:
Kathy Shaidle 1964 – 2021
Following a tedious rendezvous with ovarian cancer, Kathy Shaidle has died, wishing she’d spent more time at the office.
Her tombstone reads: GET OFF MY LAWN!
She is relieved she won’t have to update her LinkedIn profile, shave her legs, or hear “Creep” by Radiohead ever again. Some may even be jealous that she’s getting out of enduring a Biden presidency.
Kathy was a writer, author, columnist and blogging pioneer, as proud of her first book’s Governor General’s Award nomination as of her stint as “Ed Anger” for the Weekly World News. A target for “cancel” culture before the term was coined, she was denounced by all the best people, sometimes for contradictory reasons. …
It was exactly the kind of sendoff one would expect. Kathy Shaidle was a fearless writer who defended free speech with unshaking certainty. She faced death with the kind of grace and humor that her readers admired. She will be greatly missed.
This year has seen the departure of some great musicians: Little Richard, Charlie Daniels, Neil Peart from Rush, Frankie Banali of Quiet Riot and W.A.S.P., Fleetwood Mac cofounder Peter Green, Power Trip lead singer Riley Gale, the list goes on.
Walter Lure’s passing is a loss that hits home for music fans, especially punk rock fans. Lure was one of the founders of The Heartbreakers, the band led by former New York Dolls Guitarist Johnny Thunders. The Heartbreakers were immensely influential in shaping punk rock. Lure helped write many of the band’s most famous songs and was part of the vanguard that brought punk rock to the world. After the Heartbreakers, he continued to play and record music with his own band, The Waldos. His musical virtuosity extended beyond his own groups as well. If you ever hear a guitar solo on a Ramones record, chances are Walter Lure is playing it. He was the one holding things down and singing lead vocals oftentimes when Johnny Thunders, addled by drug use, would nod off on stage.
Lure struggled with his own addiction, and recounted in an interview that an arrest for buying drugs on his lunch break and almost losing his job was what finally drove him to beat his habit. He worked in the financial world, running large clearing operations, and eventually retiring in 2015 from Neuberger Berman.
“The funny bit was that back in the 90s when I was in charge of all those people on the job, a lot of them would come to my shows and laugh at the fact that their boss was playing punk rock music onstage. My clothes closet had all my work suits and ties on one side and the other side had all the beat-up stage clothes. Dr. Jekyll and Mr. Hyde here you are!”
And here is another way in which Walter Lure continues to inspire so many musicians. The rock stars you see on the covers of magazines are an exceedingly small percentage of the people who are out there playing music every night. Most musicians who make music don’t make money at it and have to hold down day jobs to keep a roof over their head. Walter Lure was a big enough musician that if this were a just world, he would have had mansions all over the world, but he held down a day job and continued to make great music.
My band Blackout Shoppers got to play with The Waldos in the basement of CBGB’s 13, which was part of CBGB’s but not the more famous main stage. Walter Lure had played that main stage plenty of times and would later be one of the last acts to play when CB’s shut down a few years later.
He would have had every right to carry a massive rock star ego or bristle at the idea playing on a small stage in a basement with a bunch of unknown bands, but there was none of that from him. He showed up with his band and rocked, playing lots of the famous punk rock songs he helped write. He gladly took pictures with people who wanted to and hung around and chatted with everyone afterwards. He stayed true to the punk ethos to his dying day.
One of my friends whose band was on that same show commented, “We all got to play with Walter Lure, how lucky were we all??”
The world was lucky to have Walter Lure making music for so long. RIP and thank you Waldo.
Madison Square Garden has hosted countless concerts over the past decades, and this past weekend it featured a sold out punk rock show.
The Misfits held what is supposed to be the last of the shows billed as the “Original Misfits” even though only two original members are playing. The difference being original lead singer Glenn Danzig has returned to sing these old songs.
Few musical figures are as universally admired and detested by their own fans as Glenn Danzig. So much of what’s been publicized about him over the last few decades has painted him as an egotistical jackass. Shoving the singer of an opening band and deservedly getting knocked out for his trouble; going after photographers at shows, screwing over fans—take your pick of “Danzig is an Asshole” moments.
But no matter how much of a jerk Danzig may be, there is no denying the power and durability of Misfits songs. Only the Ramones harnessed more influence with three-chords. And while the Ramones helped launch the punk genre, the Misfits and Glenn Danzig’s subsequent bands have held tremendous sway over both punk and heavy metal. I had not seen the Misfits until this past weekend and I’ve played in Misfits cover bands for the past 15 years because the songs are great, easy to learn and very fun to play.
The “Original” Misfits held several shows throughout the U.S., including a sold-out show in Newark, New Jersey last year that required attendees to lock up their mobile phones during the show (plenty of photos and videos of the show made their way online).
Tickets to the Madison Square Garden show cost upwards of $250 in some instances. I managed to get a ticket the day of the show in an upper tier seating level for under $100 (listed as $61 on StubHub and came to $85 after fees). The bill also featured two very prominent punk rock bands: The Damned, one of the first-generation punk rock bands from the U.K., and Rancid, a very popular ska-punk band from California.
By the time we got into the Garden, The Damned were already playing. We went our separate ways as our tickets dictated and readied ourselves for an evening of punk rock.
The Damned were excellent and played all the songs people wanted to hear. Their set was tight and they were a lot of fun. They have been around, absent a few years hiatus, since the mid-1970s. “Not bad for a bunch of old cunts,” said lead singer Dave Vanian. “And we’re pretty good too!”
Rancid played next and ripped through a tight set of fan favorites. Tim Armstrong looks like the kind of Bowery drunk that never learned how to groom his beard, and lumbered around like he was about to fall flat on his face, but then he would play some sweet lead riffs and hit every note. Lars Frederiksen gave a nice shout out to some of his favorite New York hardcore bands, and watching Rancid’s bass player Matt Freeman play is almost worth the price of admission alone.
Punk rock wasn’t created in large venues. It was born from seedy clubs in New York and London at a time when the rock and roll featured in stadiums had become a bloated parody of itself. The kind of loud, in-your-face sound that punk perfected is difficult to reproduce in a venue as large as Madison Square Garden. The Misfits didn’t have the big sound I expected. The songs were tight enough (and much tighter than any old footage you find of them in the 1980s when they were generally sloppy live).
If I had not gone to see the Misfits, I would have regretted not making the effort. They played well enough that I left not feeling ripped off. We may not get a chance to see this lineup again, and the songs are as excellent now as they were when I first heard them.
Remember that almost every musician you see gloating onstage in a large venue has at some point hauled their own equipment into a shitty club to play for five people. Every aging rock star jackass in leather pants riding in a limousine at some point sat on the floor of a van for hours only to be stiffed by a shitty promoter in a city they didn’t know.
At some point the Misfits were nobodies from New Jersey playing loud and sloppy shows to few fans. No matter what lawsuit-driven stupidity brought us these Misfits shows, none of this would matter if the songs they created were not amazing.
All the skulls and spooky theatrics can’t carry you if your songs aren’t good, and Misfits songs are excellent and have stood the test of time. While the “Original” Misfits are an imperfect echo of a past time, Misfits songs are a loud jolt of energy and fun for a world that needs it.
Capturing the New York punk scene better than anyone since the death of Lester Bangs is The New York Waste, and picking up the Waste is a must. When I first started reading it almost two decades ago, it introduced me to the best punk rock bands on the scene at the time. It featured cool photos of the Lunachicks and the Toilet Boys and the Bullys, awesome mention of The Spunk Lads and others. Paging a little farther, what did I find but ‘Last in Line for the Gang Bang, a comic biography of G.G. Allin.’
For those unaware, G.G. Allin was a punk rock musician infamous for his violent and obscene performances. He may be better known today as his legend has grown with retellings of his stories and the admiration of musicians who have broken into the mainstream. But in the early 2000s, only a select and disturbed few were allied in their admiration of the late self-described “scumfuck.” (Insider’s note: despite his violent habits, G.G. Allin was a gifted songwriter who left a prolific legacy of excellent punk rock and country music before his untimely end at age 36 in 1993.)
So the fact that someone was producing a comic strip serial biography of G.G. Allin bowled me over. That such an awesome artistic endeavor was underway and had an audience getting it free through the New York Waste made me realize I had found a great home in the punk scene of New York. The Big Apple became a little less lonely knowing that there were other sickos out there.
Discreetly inked into the margins of every comic strip was a web site address for a local punk rock band, World War IX. The band’s guitar player, Justin Melkmann, was the talented cartoonist documenting G.G. Allin’s life.
At the same time, I began looking to start my own punk rock band, and was soon working on original songs with, as the luck of the Internet would have it, Bruce Steinert from the band Buzzkill. We needed a singer.
“I’m friends with a guy who our band would play with back in the day in New Jersey. He used to do things like take bloody meat out of his pants and throw it at the audience,” Bruce mentioned at rehearsal, speaking of the New Jersey band Daisycutter.
“That sounds like our guy,” I said. “Call that guy.”
Soon afterwards, Seth Amphetamines entered the picture and became the singer of what would be Blackout Shoppers. There are not too many people who can command a stage and make the entire venue the center of punk rock chaos in the way that Seth can, and that’s a good thing. It’s an acquired skill to engage with the audience in a mosh pit with great passion without creating lasting hostility or becoming one of the bogus tough-guy copycats that have created so many boring hardcore bands over the last few decades.
Seth is the only singer I’ve seen who has gotten members of the audience angry enough to throw beer cans at him only to have them share beers afterwards. Whatever violence he dishes out is in without hate or malice, and in sincere appreciation of old school hardcore punk.
I went to see World War IX at CB’s basement, which was part of a still-existent CBGBs at the time (where Blackout Shoppers would play its first show in a complete fluke later that year), and introduced myself to Justin. He was glad to meet someone who enjoyed his comic and we vowed to stay in touch.
Not soon afterwards, World War IX and Blackout Shoppers played the first of many shows together. It’s an alliance that has lasted about a decade and a half. We’ve put out a split seven-inch record together. Blackout Shoppers’ guitar player Mike Moosehead now plays in World War IX, and World War IX’s drummer Johnny Special K has filled in on drums for Blackout Shoppers. Blackout Shoppers came back from an official hiatus at a show where World War IX bid farewell to its singer Philthy Phill. It’s an incestuous bouillabaisse that only works in punk rock or among inbred Mormon fanatics, and we love it.
This month, both Justin and Seth turn 50, and the bands are celebrating with a show together at Otto’s Shrunken Head, one of our favorite places to play. It will be an evening filled with alcohol, music and good times. Please join us.
A few weeks ago, my band was fortunate enough to be asked to play music in Tompkins Square Park. The four of us arrived punctually (an impressive feat for an old-school punk rock band like ours).
The sun was blazing but standing in the shade brought sound respite. Having consumed copious caffeinated beverages in transit, I headed for where I knew the public restrooms were located.
The men’s room was locked. A nearby restroom was marked for use only by children. It was also locked. Park workers admonished men looking to use the boys’ restroom, and referred people to the closed men’s room even after being told it was locked. A Parks Department employee told me to use bathrooms at a nearby Starbucks or 7 Eleven, and acted as if she were doing me a favor.
Nearby on Ave. A and 9th Street, there was not a Starbucks or 7 Eleven in sight. Doc Holliday’s was open though.
Even though I long ago left the drinking life, I had the good fortune to drink at many of New York’s most excellent bars before I did. Doc Holiday’s is one of the East Village’s surviving dive bars that did not sell out or lose its character, and has stayed the same quality dive bar that it was meant to be.
As the name implies, Doc Holliday’s could be called a country bar. While by that measure it could easily be lumped in with other “country” bars such as the now-defunct Hogs & Heifers, it’s a bit more subdued and nowhere near the same kind of tourist mecca. It may be a far cry from where David Allen Coe would drink (if anyone knows where David Allen Coe goes to drink when he’s in New York, please tell me), but it’s the closest thing to a country dive bar surviving in the city today.
When a cheesy movie came out about rival bar Coyote Ugly in 2000, Doc Holliday’s celebrated the fact that its name was not associated with such a flop. They had several drink specials and posted scathing movie reviews of Coyote Ugly on the walls of the bar.
For a while when I worked in SoHo, I would bring coworkers to Doc Holliday’s for beer—after the after-work beers we had at work, of course, and it never disappointed me then. I would be one of the last of my party to depart, stepping strongly buzzed into the bright twilight of a New York Friday night, ready to conquer the world some more.
About 10 years later, when I decided to leave the bogus “secret restaurant” located in Crif Dogs rather than take off my hat, I went to Doc Holliday’s where friends were waiting. Three boroughs and many, many drinks later, I made it through that night with few memories but few regrets.
But now I was returning to Doc Holliday’s as someone gone from the drinking life nearly a decade, a frustrated park goer unable to find a decent bathroom. Would I be welcome back to this hallowed place where I had spent so much quality time in the past?
The bartender was chatting with three people at the bar and the place was otherwise empty. There was no crowd to blend into if I pretended to be a customer. She looked to me, expecting me to order a drink. I decided to come clean and admit I was there just to go to the bathroom. I explained my situation to the bartender. Could I use their bathroom?
The bartender told me yes and thanked me for asking. I walked back to where the bathrooms were to find that Doc’s had done some remodeling and the restrooms were not in a state of filthy disrepair. By dive bar standards the new men’s room was pretty luxurious. I left a five-dollar bill on the bar in my way out and got a friendly smile.
I returned throughout the day and was warmly greeted. It was good to be welcome and enjoy the dive bar scene again. Even removed from the drinking life, our bars are cultural markers that can offer a guide to the state of society. Doc Holliday’s confirms there are some pockets of righteous goodness left in our city.
This coming weekend two free punk rock shows will be held in Tompkins Square Park in New York City’s East Village.
The shows commemorate the Tompkins Square Park riot of 1988, when police clashed with squatters, homeless and others that had been camping out in the park. Accounts of that night very but few dispute it involved widespread police brutality. Police lined up on the street for an extended period of time before moving into the park, and they were subject to sustained abuse by activists that did not want them there and saw them as agents of a landlord-controlled city that (to this day) lets property go abandoned rather than occupied while working people struggle to pay rent.
The riots were one of the first instances of widely-publicized videos of reported police misconduct thanks to the efforts of East Village video archivist and neighborhood stalwart Clayton Patterson. His videos showed police covering their badge numbers and chasing down protesters and beating them without arresting them. “Little brother is watching big brother,” he told Oprah Winfrey.
The 30-plus years have done a lot to change the East Village. Tompkins Square Park is no longer a homeless encampment or open-air drug market; it is now a safe place you can bring children. The abandoned buildings and art spaces that were abundant in the late 1980s have been replaced by high-end restaurants and expensive homes. The story is the same throughout the city.
It would be useless to pretend the East Village is the same, but it would be a disservice not to commemorate a scene that produced great art. Even if the crucible that created an esteemed body of art is long gone, the art does not get thrown away. I’m happy that feudal Italian city states no longer wage war on the Italian peninsula, but the art that survives from this period is among the finest in the civilized world.
The scene may be over, but the art endures. So let it be with punk rock. Though please don’t think that punk rock is over or that new generations don’t have the same legitimacy as the old-timers that were there when New York was a shithole. There are excellent bands playing in the city today, comprised of young people who were not born yet in 1988, and they are as punk rock as anyone else.
And the East Village is still a home for punk rock. The Bowery Electric, located a short distance away from where CBGB once stood on the Bowery, still hosts great punk rock shows. Niagara, which his located where punk rock club A7 once stood, has started booking hardcore punk concerts there regularly again.
And free punk rock still reigns in the park. Full disclosure: my band Blackout Shoppers is scheduled to play the free punk rock show in Tompkins Square Park this Sunday, Aug. 4, with The Voluptuous Horror of Karen Black, Hammerbrain, Porno Dracula (one of the greatest band names ever, but please don’t Google them at work), Jennifer Blowdryer Soul Band, Ruckus Interruptus, and Young Headlight. Saturday the 3rd hosts the first of the two-part series with Disassociate, the Nihilistics, Rapid Deployment Force and more.
Blackout Shoppers have been rehearsing and sounding good, even judging by my overly critical, curmudgeonly ears. We don’t play as often as we used to and it’s a blast when we can get together and play a show. It was touching when people came out to see us last year when we bid farewell to Philthy Phill of World War IX. We don’t want to wear out our welcome, but we are playing more shows this year than we’ve played more recently and it feels good to be out there being loud.
See you in the park this weekend.
I knew it was a possibility; he had told me about the idea. But when I got word from Philthy Phill that he was leaving town I was still shocked.
Phill Lentz, better known to the New York punk rock world as Philthy Phill, is the singer for World War IX. He’s much more than that though. Over the 13 years he’s been in New York he’s excelled at stand-up comedy, writing, podcasting, concert organizing, and being a creative jack-of-all-trades that would be the envy of most Big Apple newcomers. He’s conquered New York City without losing the Midwestern disarming charm and good humor that drew some of this town’s finest musicians, artists, and comedians into his orbit.
I first got to know Phill when he was the lead singer in a band called Sexual Suicide. His singing style captured the necessary aggression of the genre while also displaying a keen sense of humor; a you-are-being-subjected-to-our-noise-but-we’re-in-on-this-together vibe. Bands with no sense of humor are miserable to watch. If you had any doubts about Phill’s take on things, the highlight of any Sexual Suicide show was when Phill would put on a Spider Man mask and sing a song about performing cunnilingus on Mary Jane Watson.
He came to New York City from the suburbs North of Chicago in 2003, following a girlfriend who had moved here. Three years later they broke up and he considered moving out of town at that point but decided to stay and drown his sorrows in punk rock.
Phill not only sings but also plays guitar and drums. Over the years he has served as the drummer for Joey Steel and the Attitude Adjusters, the Misanthropes, and toured Canada and Europe with the Scream’n Rebel Angels. I was fortunate to play with him in New Damage.
Phill wrote a book, a long-form short story, written from the point of view of a down-on-his-luck New Yorker who made a living as a Spider Man character for kid’s parties. It was a great read because it celebrated, among other things, the joy of the creative act. Read Self Poor Trait if you are down and feel jaded as a creative person, you won’t be sorry.
Earlier on in my time in New York, I discovered the comics of Justin Melkmann through the New York Waste. I was so impressed that someone was doing a comic strip about the life of GG Allin, that I made it a point to go see the artist’s band, which was subtly advertised in each strip with a discreetly inked URL. Catching my first World War IX show at CB’s Lounge and meeting Justin was a turning point in my punk rock life. Blackout Shoppers have played numerous shows with World War IX and there’s nothing we like better.
A few years after I got to play my first show with World War IX, they were looking for a singer, and I and I’m sure a whole bunch of others called and told them to get Philthy Phill.
Having Philthy Phill join World War IX was like Beethoven coming back from the dead to conduct the London Philharmonic – it’s the supreme punk rock combination that had to happen. And it did.
World War IX entered a new period of productivity and creativity and produced some of my favorite songs over the past several years. I had the honor of playing a villain in a few of their videos, including the video for my favorite World War IX song, Cutlass Supreme. Phill’s acting chops earned him roles in other punk rock videos as well.
“Without a doubt, I will miss my World War IX and the friends I made playing with that band,” Phill told me. “We’ve toured many times, put out an envious number of high-quality music videos and some outstanding music to boot. Anyone who has partied with us at a show can tell how well we all get along because it comes across in what we did. Unrelated fun fact: everyone in the band has wanted to fight me at some point.”
Phill also met his wife among the punk rock fans that came to his shows. He and Erin married in 2012 and last year they had twin boys. While they excelled at making a family of their own, they have no other family in the area, at all. That, coupled with the high cost of living and the need for more space, was the deciding factor in making the move to Indianapolis.
Sometimes, the people who best embody the humor, creativity, and egalitarian grit of New York City find it is best to leave New York City.
There’s also a trap that New Yorkers fall in to easily, thinking that the world revolves around what happens in the five boroughs and believing that residing in the New York City area counts as an artistic achievement in and of itself. While surviving in New York is an accomplishment, we’d be kidding ourselves to think that any work of art is somehow automatically superior if it originates from an NYC zip code.
This Saturday, Philthy Phill will sing with World War IX for one last time at Otto’s Shrunken Head. My band, Blackout Shoppers, will be joining them, along with Controlled Substance. It will be a packed house and there will be lots of music, loudness and alcohol.
Phill hasn’t stopped being creative, and he’s already working on his next project, which he’s keeping under wraps for now.
While people will forever come from all over the world to pursue their creative dreams in New York City, the point is to keep being creative and live a good life while doing so. Great art, music, and literature can be found wherever there are people great enough to do great work, wherever the creative spirit ignites a spark that leads to more ideas, wherever there are people like Philthy Phill.
When I moved to New York City to live as an adult more than 20 years ago now, one of the things I most looked forward to was being able to live without a car. The 10 years of being a car owner had been miserable. My first car broke down a lot and was finally consumed by flames in an engine fire. I replaced it with a 15-seat passenger van I purchased from an inebriated redneck in the back woods of Northeast Georgia. The van also broke down a lot. The drive shaft fell off on Highway 285 in Atlanta and I give it to charity in hopes of getting a tax write-off rather than try to sell it.
But time and life circumstances change, and six years ago my then fiancé and I decided to get a vehicle together as we were building our new life. I was playing a lot of punk rock shows at the time and we needed something affordable but that would carry a lot of musical equipment as well as be suitable for camping and hunting. We couldn’t afford much, but we managed to find something that fit the bill and was reliable at an affordable price: a full-length pickup truck that we named Big Bertha.
The name was an homage to my then-finance-now-wife’s great grandmother Bertha. It was also an alliterative reference to Blue Betty, an ill-fated blue van that I came to possess for several months and was able to use for only one punk rock show. Driving a barely-functioning van from Suffolk County to Brooklyn while having to shift into neutral at every stop to keep it from stalling out is a harrowing experience that builds character. How that van made it as far as it did is a miracle. We were never able to get it working and eventually sold it for scrap metal and got $300 for it, which didn’t fully cover what I had spent to insure it.
Big Bertha performed flawlessly for every punk rock show, every camping trip. When my wife and I went on our honeymoon, we drove Big Bertha to Maine. A missed highway exit took us through Lowell, Massachusetts, where we stopped by to visit Jack Kerouac’s grave (“You don’t look like typical Kerouacers,” the woman at the cemetery office told us, which we took as a compliment). When my wife was pregnant with twins, she found it convenient to use the truck. When our twins were born, Big Bertha enabled us to take our offspring home from the hospital safely.
Perhaps the greatest immediate benefit was ease of getting to shows with equipment when playing music. When my band Blackout Shoppers came home from playing Philadelphia and needed to blast some classic Whitesnake to the hipster-infested Lower East Side, Big Bertha had the power. When we did a short tour with Two Man Advantage, Big Bertha took us through the bitter cold. I somehow managed to park the nearly 20-foot truck in the East Village when we opened for Joe Coffee and 45 Adapters at Bowery Electric.
Driving and parking in New York City is not easy. It is especially difficult to do with a large vehicle. Where we live in Queens makes owning a car a bit easier, as street parking is possible and there are residential streets with more available parking than other places. Owning a vehicle as large as Big Bertha would be impossible in Manhattan and more popular parts of Brooklyn.
Our punk rock pickup truck persevered, until it didn’t. Its transmission, which was never 100%, began to decline rapidly over these last months. When I attempted to drive it to see SLAYER at Jones Beach, I had to quickly change plans and use the family minivan for the trip.
We had Big Bertha towed to our mechanic and the prognosis was not good. Bertha’s transmission was gone and it would be costly to replace. She had taken her last ride and it was on the back of a flatbed pickup truck.
Luckily, our friend Amy Jackson happened to be looking for a buyer for her Jeep Grand Cherokee, and we could not find a better person to help replace our truck. Amy is a photographer and adventurer. When a friend of hers was seriously ill a few years ago, she quickly organized and produced the Gentlemen of Punk Rock calendar to raise money. She accepted our offer and will be using the money to fund her trip to Antarctica. Amy Jr. will be part of our family and while she will never have the enormous presence of Big Bertha, she will be a lot easier to park.
Like many aspects of city living, owning a car is tougher here than elsewhere, but we find our ways to make it work. A decade ago I never thought I would own a vehicle again, and now I have two vehicles registered in my name. Wish us, Amy, and Amy Jr. good luck and smooth travels.
This weekend the East Village commemorated the three decade anniversary of the Tompkins Square Park Riots with two days of concerts and speeches in the once-notorious East Village park.
Protests over a 1 a.m. curfew of the park and eviction of homeless encampments there ended with multiple clashes with police and multiple instances of police brutality. It was among the first widely documented instances of police brutality caught on video and broadcast on the news. Angry protesters shouted dire warnings about gentrification, yelled “Die Yuppie Scum,” and vandalized a new apartment building. Police chased people down and clubbed them with night sticks. It was a low point in New York’s history but things would soon change.
I was an angry suburban punk rock high school kid in the late 1980s and I made it a point to go to New York and walk to Tompkins Square Park after the riot. While I made it there, I did not stay very long. The park was still a homeless encampment and drug-invested village of skels and squatters, even with the 1 a.m. curfew. I would walk along 8th Street and St. Mark’s after visiting a great record store called It’s Only Rock & Roll that did not survive to the late 1990s.
This year’s commemorative concerts included a reunion of Team Spider, a group I have long admired and followed that embody the best of the East Village punk rock ethos. For about a decade they had an elderly songwriter ZAK, join them for most of their performances. ZAK passed away in 2006. So I made it an imperative to get to the park to see Team Spider.
The fact that I felt safe enough to drive to the East Village in a minivan with my wife and three small children is testament to the radical changes that have affected the East Village in the interceding 30 years. Amazingly, I found a parking spot right alongside Avenue B. I parked right across the street from St. Brigid’s Church. The church has a storied history, including being used as a center for activists during the 1988 park protests. There is personal history there too. I was arrested for taping a flyer to a light post right on the corner outside the church in 2005.
We walked into the park between bands, and someone was on stage making a long-winded political speech. They had been there during the riots in 1988 and now the spirit of resistance was needed even more because Trump is a racist and in league with the Nazis and no borders and die yuppie scum and …I tuned out most of the rambling speech and instead said hello to friends that I saw there. Some of my friends that I know through music have not yet met my children, so it was good to introduce some of my punk rock family to may actual nuclear family.
Team Spider took the stage and rocked. Their brand of ska-infused, politically conscious punk rock is as relevant today as it was when they were performing regularly, and they even updated some of the lyrics to mention Donald Trump instead of George W. Bush. The concert was well attended – Choking Victim closed out the show after Team Spider – and evidence that the spirit of political protest has not been cleansed from our city streets entirely.
But by any measure of anti-gentrification politics, the yuppies have won in the East Village. There are only a few squatters left among the increasingly expensive real estate that have driven out much of the radical politics that fueled the protests. The 1 a.m. curfew on the park is still in effect and there’s a Starbucks where there was once a pizza place not long ago.
After we listed to Team Spider play, we brought our girls to a playground. I took a small detour to meet with old friends at the show, but soon it was time to go for ice cream. I am happy to report that Ray’s Candy Store is still on Avenue A and I and the family got to eat ice cream cones served by Ray himself. We found a bench in the park that was away from some of the homeless congregations that still take up a lot of space there and quickly ate the ice cream, though the summer heat made us all a mess. Soon it was time for home.
New York City has changed dramatically in the last three decades, and it wouldn’t be New York if it was any other way. We won’t always have the same punk rock bands to listen to in the decades ahead, but New York City will always be home to what is interesting.
Mike Moosehead is the hardest working man in punk rock, and this weekend he’s playing shows with five different bands. Four of those bands are playing a special show to commemorate his and his wife Xtene Moosehead’s 10th wedding anniversary. The two are both punk rock bass players, though Mike plays guitar quite a bit also.
The Cobra Club in Brooklyn is the venue where the show will be. It is in a now-trendy area of Brooklyn where the remnant industrialization means a greater chance to find parking if you are driving there.
Full disclosure: I’m playing guitar in Beer Drinking Fools, the opening band of the night that features Mike on bass. The name of the band pretty much gives you the story: songs about beer. But there are some really great songs not directly related to beer that make me love Beer Drinking Fools long after I left the drinking life. Songs like ‘Work Sucks’ and ‘Let’s Get on Welfare’ offer common anthems for anyone frustrated by the standard dirge of working life. And even if you don’t drink, ‘Drinking 40s on the Subway’ is a great homage to the spirit of freedom that makes life worth living.
The second band playing that night is a special guest, and the name of the band will not be announced in advance. I happen to know what band this is and I can say first-hand that they will be in keeping with the spirit of local New York punk and hardcore with a sense of humor and chaotic stage performance.
Skum City features Mike on guitar and Xtene on bass. They started this band in 2007 and played their first show in 2008. Some former members are going to be coming back to play, and it will be a great time. Skum City blends old school punk rock with West Coast style early era hardcore. If you are looking for down-tuned grunge music to fall asleep to, look elsewhere.
Mike is also a guitar player for World War IX. World War IX was a band I learned about from reading their founding guitar player Justin Melkmann’s biographical comic strip of G.G. Allin in the New York Waste. They have been friends and comrades for years and they made my punk rock dreams come true when the inspiring Renaissance man Philthy Phill became their lead singer. I have had the honor to play some villainous characters in a few of their music videos. Who will they proclaim to be the King of the King of the King of Beers? I’ll have to find out (will not be me).
Headlining the night is Philadelphia’s Loafass, a band I have loved since I saw them open for Murphy’s Law on St. Patrick’s Day in 2003. Their lead singer, Fish, was the officiant at my wedding. Few bands are able to harness the sense of humor that punk music requires as well as Loafass. If a ramshackle jalopy with Pennsylvania license plates careens across the highway in front of you in a blaze of marijuana smoke and empty beer cans, the band playing on that car’s stereo is Loafass.
The show is only $5 dollars and requires you have an ID that says you are 21 or older. Mike and Xtene have put together a great show and the longevity of their band and marriage is a testament to the notion that making great music together can make a lot of people happy. I hope to see you there.
On August 20th 2003 I went to a show at the Knitting Factory, which was then still located in Manhattan, to see a punk rock show. What drew me to the show was that a former Lunachick was playing with her current bands—Squid’s Team Squid—but I was interested to see what other bands were playing.
As Two Man Advantage took the stage, I was prepared to be disappointed. People who wear sports jerseys outside of sporting events tend not to have a lot to offer the world, and now the whole stage was custom-made hockey jerseys. I figured out they were hockey jerseys because one of the guitar players was wearing an old-style goalie’s face mask.
The music kicked in and it was really good, aggressive punk rock that the world needs more of. And by the time lead singer, with ‘Drunk Bastard’ on the back of his jersey—all are numbered ‘69’—hit the stage, I realized this was a band with a sense of humor. Hardcore bands with a good sense of humor are rare, so I settled in to enjoy the show. But I found that even though I had never seen this band before, I was drawn to get close to the stage and join in whatever way possible. I took a few lumps in the mosh pit at that performance if I remember correctly, and it would not be the last time. But I left the Knitting Factory a confirmed Two Man Advantage fan.
Their songs are almost all hockey themed and include “Zamboni Driving Maniac,” “I Got the Puck,” “Hockey Fight,” and “I Had a Dream About Hockey.” The band is so good that listening to Two Man helped get me into watching hockey; going to a Rangers-Red Wings game a few years ago sealed the deal. Hailing from Long Island, most of the band are die-hard Islanders fans, though one of their guitar players, SK8 (“Skate”) is a Rangers fan, and drummer “Coach” supports the Pittsburgh Penguins.
In the intervening years I’ve had the good fortune to not only share the stage with Two Man Advantage but to put out a split 7-inch record with them through my band Blackout Shoppers. We did a short weekend tour with them to promote the record a few years ago and it was a blast. I’ve had many good political and philosophical discussions with The Captain, who has forgotten more about math and music than most people will ever know. Two Man’s drummer, Coach, and lead singer, Spag, DJed my wedding. We visited Spag’s home to plan out the music and it had the most records I’ve ever seen in one place outside of a record store. Spag had the good sense to talk me out of blasting Iron Maiden’s “Aces High” at the reception.
Two Man Advantage began as a one-time performance as a joke at a Halloween party. The band was comprised of people who had played shows together in other bands writing a few songs about hockey.
This past weekend I drove out to Long Island to see one of two shows the band played to celebrate the two-decade mark. I got there just as the very excellent Refuse Resist, who recently celebrated their 10th anniversary as a band in their native Boston, was about to play.
True to keeping their sense of humor, the show began with a recording of the national anthem, to see who among the band members and audience would “take a knee.” A few band members and audience members did so, as Coach gave a preamble joking lamenting how politics had reared its ugly head at their show. Everyone enjoyed the levity of the moment, and no one got offended and left.
It was great to see the Two Man members again and I was at the front of the stage when the show started. I’m not as game for a mosh-pit bruising as I was in 2003, so I enjoyed most of the show from a safer distance, returning to the danger zone only once more later. It reminded me how much I enjoy music and miss making it.
Two Man Advantage played a lot of favorites and a few deep cuts, and did it all with ferocity and sincerity that the world needs more than ever.
Thank you, Two Man Advantage, for 20 awesome years.