All Photos by Ash Thayer
Text via NY Times
When Ash Thayer lost her apartment in Brooklyn in 1992, she found a new home with a band of squatters who had taken over a tenement in the East Village that had been abandoned by its owner, seized by the city, then left to decay.
Ms. Thayer, who was a 19-year-old photography student from Memphis, was new to squatting, but decided it suited her. Over the next seven years, she lived in several buildings that had been bricked up and were all but forgotten in earlier decades as crime in the East Village soared and the population dwindled.
But where some saw blight, the squatters saw opportunity. They broke into empty city-owned buildings, removed debris, repaired gaping holes in the roofs and established self-governing communities.
“There was an openness and sense of possibility in the East Village then,” Ms. Thayer said. “It felt alive.”
Soon, Ms. Thayer began documenting her existence in buildings like Serenity House and the Fifth Street Squat, portraying intimate details of the homesteading life that were rarely glimpsed by outsiders. She photographed fellow squatters filling water jugs from fire hydrants, dancing to punk bands and stepping onto rooftops for moments of repose.
Whether working or relaxing, the squatters kept a lookout for police cars; the city authorities considered them trespassers. Although about a dozen squats were legalized in a deal with the city in 2002, most did not survive.
Among those was the Fifth Street Squat, which the city razed after a small fire in 1997, violating a court order barring workers from removing the squatters’ belongings.
“It was just so sad and devastating to see Fifth Street ending,” Ms. Thayer said. “There was love that went into every single room there.”
Micki McCargar of Eight Legged Horse interviews Krysta Martinez of Landmine Marathon & Transient
How long have you apart of a band? How did you fall into being a metal vocalist – is it where you started? Also, did you have any experience in music or singing/screaming beforehand?
I joined my first band almost 9 years ago. It was called Wall of Death. There were three screamers and they taught me to do aggressive vocals. I asked my highschool friend Hank – Life in Pictures (AZ) – for a few pointers. I’ve been doing it ever since.
What are the biggest changes between when you first started in a band and now? How have your expectations changed? Any new or different ideas about what it takes to be successful at making music?
It takes a lot of perseverance and flexibility. Sometimes you’re having a shitty day but you still play the set and give it your all. Sometimes your bandmate decides to quit to pursue underwater basket weaving or whatever and you have to figure it out so that you can keep doing what you love. I was more idealistic at first … having this monogamous idea of myself as a musician. Naively, I wanted to be in one band that I’d put everything into and that one band was meant to last a lifetime. I’ve shifted to a more polyamorous view … collaborating with many bands and many people in my experience is better than having a single outlet to focus all of my energy on. I really like having multiple projects to challenge myself in different ways. I like to listen to and play a lot of different kinds music.
We’re very excited and honored to be part of the Cvlt Nation Mixtape Series!! We all love slow and heavy music and while there have been a lot of great bands cultivating lots of great mixes of styles, we feel that grind and crust are underrepresented. So we would like to present to you our mixtape of Things That Grind and rock the D-Beat!! Enjoy!
See you all on the road this October!!
Stream Sonic Cathedrals Vol. CXXIII THEORIES:
Godhunter Interviews Kylesa
First off, I just wanted to thank you taking the time for this interview. I’ve been a fan since the Damad days, and I think it’s fair to say that both Damad and Kylesa are important influences on my own band, so I really appreciate this chance to pick your brain for a few minutes.
A lot of folks in Arizona are really stoked that you’re playing Southwest Terror Fest this year. What is your opinion on festivals in general? Are there differences between festivals in America and festivals in Europe, from a band perspective?
PC-Yeah we are stoked about it too. I think there is just a difference in festivals in general, I don’t think we have ever played two that were exactly the same. However for metal, festivals in Europe are definitely bigger than the U.S.
OPIUM LORD is a British band that creates soul-destroying, original, bugged-out doom that leaves the listener with a sense of internal filth. They just filmed a new visual for their song “Street Labs” and CVLT Nation has the huge honor of premiering it today! Get Fucked on OPIUM LORD…Get DOOMED!
Via Jenkem Magazine
As skateboarding entered the ‘90s things were pretty exciting. The rawness of H-Street’s Hokus Pokus and World Industries’ Rubbish Heap marked a shift from the super slow-mo, skitted out, big production Powell Peralta videos–a needed and necessary change. It wasn’t that Powell’s videos were bad or lacked innovation, they were just too Hollywood. Skateboarding was small, street skating was emerging as “the” discipline, and while none of the kids in your cul-de-sac were as fluid as Hensley or could smith grind a rail (who cares if it was a 3-stair) like Jeremy Klein, no one wanted to “run through a graveyard” anymore.
Boards started to have bigger noses, wheels were getting smaller, and shapes more functional. Anchored by Mark Gonzales, Natas, TG, Matt Hensley, and Vallely, a new crop of innovators were being showcased. Templeton, Howell (both Ocean and Andy), Chatman, Sheffey, Carroll. Progression arrived monthly in your mailbox, the pages of Transworld, Poweredge, and Thrasher documenting landmark moments and the unthinkable.
Then, well… all of a sudden shit got weird. Natas got a serious injury, Gonz quit skateboarding to pursue art, Hensley went full skinhead pool playing EMT, while the rest of us dressed in colorful denim often capped off with jester hat beanies. Yeesh. As we all know the skating wasn’t that impressive either, but it had to happen. Everyone–pro, am, and unsponsored–was hovering inches above the ground, catching up with the progression, before things could go back to normal in the mid-‘90s. This period might have lasted for a shorter time period than most high school jail sentences, for those of us that didn’t drop out, but it felt like an eternity.
If you survived the weirdness, part of you is an early-‘90s skater, whether you want to acknowledge it or not.
Today CVLT Nation is bringing you an exclusive stream of “Love in a Cold World” from Finland’s BEASTMILK, off their upcoming LP Climax will be out Nov 29th via Svart Records. This song hits home with me, because I often feel like I have created my own little island in this universe, where love and happiness can exist because I keep myself away from the hateful world around me. It may sound dramatic, but I think Beastmilk understands! Also check out Part I of the making of Climax below!
DIRECTOR: Uli Edel
STARRING: Natja Brunckhorst, Thomas Haustein, David Bowie
Addiction films have become a household name these days, whatever the nature of abuse; rarely do these pictures differ in their bleak portraits of the rise and fall of a junkie. You’ve seen the good films, and you’ve seen the bad, but Uli Edel’s 1981 picture of the daft Berlin youth in the 1970s, ‘Christiane F. Wir Kinder Vom Bahnhof Zoo,’ might be the genre’s greatest achievement. READ MORE…
What would happen if you saw a book filled with images that reminded you of what you saw when you were fried on acid? This is just the case when I first saw the pages of the Codex Seraphinianus. These are the kind of visuals that take over my imagination when I listen too much CAN. This bugged-out alternative universe was composed by Luigi Serafini in 1981, and it is full of otherworldly images that will have you scratching your head in awe. Wriiten in his own code language and with pictures reminiscent of a medieval medical text, this book looks like it should have been written centuries ago. But it also looks like a guide to the future, as if some 14th century scribe had a lucid dream of 4300 CE. Today CVLT Nation celebrates Codex Seraphinianus with a huge photo essay…I want this for my next b-day gift…hint hint to my wife if you are reading this!
How long have you been together as a band?
Vehemence was formed in 1995 by Nathan, Scott and Bjorn as an atmospheric Death Metal concept. In 1997, Andy and I joined completing the line up. Nathan, Bjorn, Andy and myself are all original members. This October will be 16 years of Vehemence for me. Hard to believe. Doesn’t seem that long ago.
What has been your best memory in your time as a band?
Definitely the years we were on Metal Blade and touring were the times that I find most memorable. Living on the road and seeing the country are not something that everyone gets to do and for me to do that for free was one of the best times of my life. Still just getting together and jamming is awesome because jammin with the same dudes for 16 years is pretty awesome too.