Bidding a hellacious farewell to SLAYER

Big Bertha the pickup truck was not herself. My vehicle was over-revving, lurching, and I smelled something burning. I was afraid she wasn’t going to make the trip to Jones Beach. I picked up my friend Javier from downtown Flushing and headed back home, where we were able to use the minivan. Javier helped me take out the car seats to make room for Beast and Sid, and we headed back to downtown Flushing to pick them up. We got a late start, but we weren’t going to miss a minute of SLAYER.

Slayer has embodied the best of thrash metal for nearly four decades. Coming to the world in the early 1980s California, it mixes the rapid-fire, unrelenting aggression of hardcore punk with the guitar virtuosity of more traditional heavy metal.

Over the years, Slayer has become easy shorthand for aggressive music that rejects any and all self-indulgent niceties or attempts to soften its image. Years ago I was dating a woman who was destined to soon break up with me. Even though I was coming off a long period of unemployment I shelled out to treat her to a performance of Handel’s ‘Messiah’ at Carnegie Hall. One of my biggest regrets of that time was not screaming “SLAYER!!!” in the famous venue between movements. I would have enjoyed the performance much better and it would have brought that relationship to a quicker and more merciful end.     

I’ve had the good fortune to see Slayer several times, including with the definitive lineup that included JeffHanneman before his untimely death in 2013 and drummer Dave Lombardo. “No Jeff, no Dave, no thanks,” was a refrain that some Slayer fans abided by in these later years, and I hadn’t seen them since Lombardo was fired in 2013 after disputes over money.                                                                     

For whatever reason—and maybe being in the same band for nearly 40 years is reason enough—Slayer is calling it quits. If you needed another reason to pay to see Slayer again, this was it. They even patched things up with Dave Lombardo.

So on we rolled out to Long Island to see Slayer’s final show in the New York City area. Opening for these godfathers of metal were other excellent thrash metal veterans Anthrax and Testament along with Napalm Death and Lamb of God. The name of the concert venue there changes every few years to that of a different corporate sponsor, but everyone just calls it “Jones Beach.”

Jones Beach can be lacking as a concert venue. Even though I quit the drinking life long ago, it is an outrage that the amphitheater only allows alcohol in one restricted area with no view of the stage unless you pay even bigger bucks as a VIP. And the prices on concessions are ridiculously inflated. While I had enough cash in my pocket, I was not going to pay $5.50 for a bottle of soda that costs $2 elsewhere. Six dollars for a hot dog? No thanks.

But Jones Beach gets good shows. A lot of the big concert tours don’t come to the five boroughs. I asked the peanut gallery of social media why this is. The two biggest concert venues within the five boroughs—Madison Square Garden in Manhattan and the Barclay’s Center in Brooklyn—share space with sports teams for much of the year, so there are fewer concert dates available. Also, the city is more expensive and so much of a logistical nightmare it is easier to go elsewhere.

Forest Hills Stadium is a great place to see a concert. I saw The Who there a few years ago and it was a great show. It’s intimate for a stadium and it has the kind of food and craft beers that both younger and older crowds enjoy. That venue tends to more mellow acts (Van Morrison, The B-52s with Culture Club, Imagine Dragons) because it’s in a residential area and the people who own homes in Forest Hills probably aren’t very interested in listening to live thrash metal at 9 p.m.—their loss.  

Whatever the drawbacks of Jones Beach, the Slayer show rocked. All the opening bands were good; no one disappointed. And Slayer played the best kind of farewell show they could have played. They closed with ‘Reign in Blood’ and ‘Angel of Death’ and then thanked the crowd for supporting them.

Someday we can hopefully make it easier for bands like Slayer to play within the city limits of our beloved Gotham more frequently. Music, and New York City, deserve it. 

RAMONES and the quest for Queens’ artistic respect

The Queens Museum is a site of pilgrimage for punk rock fans from all over the area thanks to its Ramones exhibit, which is open until July 31.  

I made it there not long ago one weekend after seeing friends posting photos of their visits there over social media for the last several months. It is a fine exhibit, one long overdue in the borough that gave the pioneering punk rock band to the world. I made a point to wear my Norman Bates & The Showerheads t-shirt when I visited, because one great Queens punk band deserves another.

The exhibit is colorful and brief. It’s only two modest-sized rooms and a screening room. I went there with my family, which means that a good deal of our time was spent stopping our two and half year old twin girls from banging Tommy Ramone’s snare drum. We didn’t have time to really take all of it in, maybe we should have gotten a sitter.

But as rushed as our walk through the exhibit was, it was important to be there. Queens is often overlooked in the pantheon of New York City artistic greatness. But Queens has given the world not only the Ramones but Johnny Thunders, Run-DMC, Simon & Garfunkel and more. Queens doesn’t get the respect it deserves – all the outer boroughs carry with it that basic desire to poke their finger in the eye of the city being defined as Manhattan.

One thing that the contemporary adoration of the Ramones tends to obscure is that they were grossly underappreciated when they were a functioning group, at least here in the U.S. I remember going to see them in 1989 in Connecticut and they were playing at Toad’s Place in New Haven, an admirable music club but a small venue (it was a 21+ show and I had no fake I.D.). When I finally saw them in late 1995, they were playing a larger venue, but as part of a shitty alternative radio show, headlining but sharing the bill with the unworthy likes of Better than Ezra and Silverchair (the oft-hated Silverchair were actually very good to be honest).

Queens is fully embracing its Ramones fame. Murals of the Ramones now grace Forest Hills. There are plans to rename the intersection next to Forest Hills High School Ramones Way.

The Ramones who moved to the East Village in the 1970s could not afford to live there today. While the Joey Ramone Place street sign is the most stolen in the city, the area looks nothing like it did when the Ramones first played CBGB in 1974. The refrain is a familiar one: New York is no longer affordable to the artists who made New York’s art scene famous. The artists I know don’t talk about New York, they speak of Philadelphia, Buffalo, or Berlin. New York’s East Village is a victim of its own success in a lot of ways. I’m not ready to give up on New York just yet, but it’s easy for me to say that from Flushing.

To be a punk rock fan in New York City means to constantly wrestle with nostalgia. There is a rich history to celebrate, but nostalgia can be a trap as much as a motivator.

New York continues to produce great punk bands. You may have to travel farther away from Manhattan and the trendy parts of Brooklyn to see them, but great local bands, the Ramones of tomorrow, are playing somewhere in Queens today.