Well, Kerry King didn't like any of this one bit, either. warriors - but this didn't change the fact that, as far as I was concerned, Dookie was pure dookie. Of course, Green Day were no posers - prior to their major label career, they had paid their dues as true D.I.Y. I always thought both bands were kind of silly. Oxymoronically, these records created a version of "punk rock" that you could play for your parents and in the mall. With the 1994 release of Green Day's major-label debut Dookie and the Offspring's Smash, it seemed like the plot had been lost, that someone dropped the ball along the way. There, it lost its intensity and became just another style of hair dye for sale in the numerous "alternative" lifestyle shops dotting America. Sure, there still were bands like His Hero Is Gone, Poison Idea and Rorschach that were making crucial music that falls under the catch-all term "hardcore punk," but they weren't on the radar of the mainstream.
Video of Black Flag - National Talk Show Feature on Punk Violence.īut by the time mainstream culture caught on with it's corporate-sponsored events like Warped Tour, what the general populations perceived as punk was a shadow of its former glory. "Change scares anyone that is part of existing structures like families, your job … the status quo."
Black Flag's Chuck Dukowski broke down the reason why the cops were trying to shut them down in a talk show interview curated online by BlankTV: "They're scared. Take as prime example Black Flag, who seemed to be at odds with the LAPD for their entire career, and were one of the prime architects of change inside the heads of young people during the Eighties. Hardcore punk once stood in opposition to the fabric of society, too. You would never be able to enjoy Slayer with your parents back in the late Eighties and early Nineties because they stood in opposition to the very fabric of society. They seemed more "real" to me, as opposed to Iron Maiden and Judas Priest - great bands, but groups that maintained a distance from their audience, and just weren't genuinely scary and anti–status quo in the same way.
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They had the speed, intensity and darkness of early hardcore punk add to that, they had songs about Satan, evil, serial killers, hate, Nazi atrocities, anti-religion and nuclear war. For kids like me who loved Black Flag and Mercyful Fate, Slayer were THE band. It wasn't until D.R.I., Corrosion of Conformity and Suicidal Tendencies opened the door with "crossover" that metalheads and punks were able to unify.
One of the most brutal pits I've ever experienced was at the Channel in Boston when Motörhead and the Cro-Mags toured together - skins and metalheads essentially beating each other up with the soundtrack being provided by two legendary punk-metal-hardcore bands in their prime. What I have always loved about Slayer, and thrash in general, is the way that punk was integrated into metal, despite the fact that the respective scenes' fans were in often opposition to each other.
I have always embraced each Slayer release, including the much-maligned Diabolus in Musica. He's also the host of the Everything Went Black podcast, and the owner of Savage Gold Coffee. Mike Hill is the founding vocalist/guitarist for Brooklyn-based avant-garde black-metal outfit Tombs.
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