The Way We Were

The Way We Were photographs by

Destiny Mata

Culture Crush Editions New York, N.Y.

Punx Of Color At Silent Barn

The Way We Were The first Punx Of Color show I went to was in a basement in Brooklyn. I was just in shock at how the people had all come together—all punks of color, all from New York City—I had never been to a show that was made up of a bunch of Black and Brown musicians, the avant garde of the disenfranchised, all local activists—and like me, all outcasts. For once I didn’t feel like I was being judged, I felt like I could just be myself. I felt like I was home. So after that one show I thought, “Get me to the next one!” It was therapeutic too, because at the time I was working with middle and high school youth at the Lower East Side Girls Club, which could be very stressful. So going to shows was my own way to have fun and be with people. I met so many amazing artists, activists, and community organizers. But they were not just putting on a show, they were also putting together benefits for grassroots organizations fighting for undocumented and trafficked migrant workers, fighting against gentrification, supporting causes around autism and hunger, like The Color of Autism Foundation and Feed The People/ Bronx, all in support of their own communities. In other words, there was much more to it than just the music. The first venue I really focused on was Silent Barn, which was out in Bushwick. That space was a collective of artists who actually lived there, and ran different workshops for the community along with providing a venue for artists to perform. Eventually I got to know some of the people who were living in the space. It was mind blowing. So out of that Punx Of Color collective, other collectives began forming and putting on their own shows.

I could see the exponential progression as it was all happening. The deeper I got into photographing the scene, the more collectives I saw popping up.

That made it really compelling to continue to document. It was radiant, it was loud, and just felt like a good place to be with other likeminded people.

Other collectives, like Hydr0punk, No Flowers For YT [white] Powers, Odiosas, BASURA, CLUB A, and CORPUS were flourishing around all five

Junta Performs At La Jungla

of the city’s boroughs. Staten Island had Punk Island, and venues crossed from Heck, just on the edge of Ridgewood, to Club Anarchy, Brooklyn Bazaar, St. Vitus in Greenpoint, all the way up to Bronx spaces La Jungla and Bronx Beer Hall. There were countless others—all lost to either gentrification, the pandemic, or a little of both. As community organizer and Junta frontman Nachi Conde-Farley recounted, “The purpose of performing is that you want to give people a really good show. You want them to walk away thinking, “I’ve never had an experience like that before.” And in spaces right in the centers of real community marginalization, those are the shows I want to play. I love to play for those people. They say, “I love your band, I love this music!” Everybody’s smiling. Everybody was so happy. That’s the kind of show I love to play. La Jungla was one fucking kick-ass DIY historical venue, and it deserves its place in history. It was a basement in the Bronx, but they had all the lighting and equipment, they really wanted to give you a world class experience. At La Jungla, nothing was phoned in.

When you walked in, the energy was hyped. They wanted to make everything as lit and awesome it could be, just out of what they had.

They really pushed it to the limit. And I remember the shows in spaces like Heck, packed with people that were actually from this city—Black and Brown punks of all ages just enjoying space. That’s what these shows and events were for— being with people, being seen and heard, and hearing all around you that your life matters, that you are whole and complete in that moment. Giving you a sense of agency and happiness there. It was such a positive and fun show. Heck was closed down when the cops raided the space because of a rap show they were monitoring online. They just came and shut the whole thing down.”

I think these expressions were a reflection of what was happening in the culture, in the society we were experiencing. You heard it in the music, in the lyrics people were writing, and the types of benefits they were choosing to put on. I think that goes hand in hand traditionally with punk music. I started shooting this at the tail end of 2014 up until the pandemic shutdowns of early 2020, so the photographs were captured during the societal shift we saw speed up beginning with the launch of the 2016 Republican presidential campaigns and the cultural, political, and economic chaos that ensued

henceforth. As Conde-Farley commented, “I love to see how bands like Shawty and Posterboy2000 are doing stuff they feel is valid and cool right now. Not like some of the young bands from out of town who come here and try singing about the bomb or something like that. I’m like, “It’s not the 1980s here! Why can’t they try making art about what they think is valid and cool?” But that these guys here are doing the shit that they fuck with, it’s awesome. That is what I really miss right now. I want play with those guys.

This is when I think “I wish I back there.” He continues, “There should be a common energy between things. A lot of the venues are gone, but what was important was the spirit and the energy behind all of it. So just remember that and make sure you bring that to the next spot. Remember what made you feel happy at these spaces, and bring that to the next space. Strive for that. You don’t have to have the hippest brand of jeans and or think you missed something because you weren’t at that spot at that moment in time and there will never be another spot like that—just keep doing it. If you think it’s valid, then go for it.

People actually need this. There’s a necessity to it. It’s not because the market demands a new cool space—it’s because marginalized people need marginalized spaces. They come together and survive off of that community.

As long as people are hungry for it, spaces will form.” For me, it was important to get all of the voices we gathered for this project, because in a way, I wanted you all to hear directly from thepunks, from the people. I don’t have to say anything, because it’s all coming directly from them. Blu Anxxiety frontman Chi recalls, “There were always clubs, but there was never a community like the one that formed around some of the different venues. Club Anarchy was a place where anyone could go. It was a non-segregated kind of spot. Kids could be whoever they wanted to be. There was a skate ramp, graffiti artists, punks—it was a place of freedom and it was really nice. And any New York person would know that’s what we strive for. It’s that freedom of thought and feeling like you were in a place where you were really accepted. I’ve always felt like an outcast—even at punk shows, I never felt accepted. They would look down on us. Why? Maybe it’s because I’m Brown, I’m loud, and I just don’t give a fuck. People are afraid of that. They don’t like a confident Brown person. But as long as there is government there will always be punk music and rebellion.” Seeing all these movements unfold and grow

on these pages is a testament to the importance of the scene through the years. I didn’t realize for how long I had been documenting it all (6 years) until we sat down and started going through everything for the book project.

To see how it all grew organically, and remembering all of the people that I met through those years, and see how they grew as artists, as people, how much we all changed, I feel like the future could be even brighter. This is a community that just comes together. Being a part of it affected me personally and I’m excited for the future of this scene, for the people whom I’ve met who are the heart of this story—the story of New York City punks of color.

“In life, one of the times I feel the most strong is when I’m in the mosh pit,” says Melissa Maya, “because in the pit you’re allowed to take up space and push people around. You feel the music and let it take over you. You don’t have to be apologetic. Being in the pit all together feels like family.”

Above all, I wanted to give a sense of how much everyone was having a good time—I wanted you to actually feel that.

And I think that’s why I chose for the most part to shoot in color. Whenever I shot in black and white it was always a dark time in my life.

But as Damarys Alvarez, another one of my fellow femme scenesters remembers, “Finding the Latin punk scene inspired me—before I found them I noticed there weren’t many women around. There’s a lot of machismo and in the beginning we didn’t have a lot of girls to watch out for each other.

So it was hard. You had to be a tough broad. I had taken a year or 2 off, and it was finding Hydr0punk that brought me back in. Finally, I saw Monica, I saw Tiara, I saw Destiny. I saw so many girls! I thought, “Wow! It’s not just Ratas En Zelo anymore!” Finally, I felt comfortable. At Punx of Color shows, I finally heard, “Girls to the front! Girls to the front!” for the first time. There was not only a strength and education about femininity, but also about being gender neutral. They were radical spaces. I thought “Yes! We need this!”

We need our queerdos, we need our weirdos, we need this community, we need it to be expressive and free. Come in lipstick and heels, if you’re a guy or a girl or whatever, we want you. It’s about all of us together. Being safe together—and these shows helped us get that. It’s why we need each other.”

So in the end, these pictures are about joy. They’re just me celebrating life.

Destiny Mata

Bushwick Artist Collective Space Silent Barn

Maduros Drummer Quinn Miles

Rebuschaos Drummer Ricardo Lopez

“We need our queerdos, our weirdos, we need this community— we need it to be expressive and free.”

Damarys Alvarez

Choked Up Guitarist Cristy Carrera

“What an amazing night!

This mosh pit was a lot of fun, especially as a Black woman, because oftentimes, even in POC spaces, we still feel kind of erased and invisible. It was finally at these Punx Of Color shows where I met people who are going to be in my life forever. It was really special.�

Flora-Morena Ferreira Lucini

“It was wonderful playing Punx of Color and seeing different bands, different genders, and people of color. There was a communal spirit of just letting go and being free. There was a lot of camaraderie and a lot of love being shown.�

Creature

Jeffrey Monge and Maca Buritica, OppositePage, Loco Coco The Clown

Damarys Alvarez, Teresa Siri, and Nachi Conde-Farley

SKARRONEROS’ Maca Buriticá

“Hydr0punk affirmed for me that females have the right to mosh and have a space in the pit—don’t let anybody tell you that you don’t! Moshing is definitely one of the safest ways to let out your anger. For me, personally, that was why I went to a lot of shows. I have a history of self-harm, so going to shows was like the safest alternative for me to still feel that pain without causing damage to myself.”

Teresa Siri

Bidet Lead Singer Lila Shlon

“I noticed there weren’t many women in the punk scene.

There’s a lot of machismo and in the beginning we didn’t have a lot of girls to watch out for each other. At Hydr0punk I saw Monica, I saw Tiara, I saw Destiny. I saw so many girls! I thought, “Wow! It’s not just Ratas anymore!” I felt comfortable for the first time at Punx of Color shows” Damarys Alvarez

“It was so beautiful to be in that space, feel the art, feel everyone’s aura, everyone’s vibes. It was such a good time and coming together you can really see the community behind it. It was like an affirmation. I can exist and others like me exist. And we can all exist in one space.”

Edith

S.P.I.C. Frontman Juan Sanchez

Terrorist Performing On The Lower East Side

Tay Simms On Drums

Fairy God

“The show brought together bands from all over New York City, and it was a mix of different kinds of music coming together—the style of Blu Anxxiety is a style I created called “Dark Free Style,” which was influenced by the freestyle coming out of 80s and 90s New York, Miami, and California, that had a new wave, but a Latin freestyle beat to it. So I got to mix that with goth influences and that’s always been my dream—to make dance music that has a political tone to it and has a message.”

Blu Anxxiety Performing At St. Vitus In Greenpoint

“Coma White performed with us and it was amazing. We got to talking over horror movies and she was a fan of Blu Anxxiety, and I said, “You look amazing, just come perform with me!”

My whole life I’ve always been around drag culture, and I always thought it was punk— and it is punk.”

Chi

Coma White

Olor A Muerte Frontwoman Analia

Limp Wrist Performing At Brooklyn Bazaar

Sayuri Gomez Sanchez

Limp Wrist Performing At Brooklyn Bazaar

Pobreza Mental Performing At Brooklyn Bazaar

Monserrat And Maria Del Carmen Performing Their Ritualistic Ceremony At The Living Gallery

Illustration By Draizy

“I remember the moment they took the stage—the air kind of changed. It was surreal. The sound vibrations were going directly into my brain. It was like the music itself got me high.

I really appreciated seeing Bruja Luna on stage because I had never seen Brown women perform music like that. It was such a special time.”

Draizy

Jason Rodriguez At Club A Brooklyn DIY Space Club Anarchy

IIlustrations By Draizy

“Club Anarchy was a place where anyone could go. It was a non-segregated kind of spot.

Kids could be whoever they wanted to be. There was a skate ramp, graffiti artists, punks—it was a place of freedom and it was really nice.”

Chi

IIlustrations By Draizy

Yasmeen “Yaz” Wilkerson On The Skate Ramp At Club Anarchy

“We were all there for each other in a sanctuary. Often times what we advocate for feels forgotten and lost by the world that has emerged around us. The show was like lightening and chaos, the room filled up and the air was heavy with love.�

Adrianna Hackett

Alexandra Tanner

Rubber Guitarist Mego Saienni

Belle Moshing At Club Anarchy

Decisions Bandmates Rebecca And Nahil

Rubber Frontwoman Tina Saienni

Fizz And Mar

Deli Girls At St. Vitus

Shawty Frontman Noble

DJ Agua Panela Mami

Ingrid Romero

Haram At El Cortez

Kiara Cristina Ventura, Rocio Cabrera, Nicole Bello

Joelle Serrano

Head Bitch In Charge Adrian Miles

Peter Del Orbe At Hydr0punk

Ratas En Zelo

Bruja Luna

“All of our shows have a Punx of Color vibe, full of people of color and first generation immigrants.

It’s all about empowering and being conscience of the problems we face as a society, but knowing we have power and that we are not victims. Turn up the fire, turn off the fear, and do what you love.”

Yadee Araniva

DJs v4p0ru And Agua Panela Mami

Bronx Art Expo Benefit Organizers Salina Lynn, Tiara Torres, Monica Flores, Jesse Serrano, And Nachi Conde-Farley

“I’m a 24 year old Boricua from the Bronx where I was organizing shows and leading political education workshops with Hydr0punk—working with teens in the borough breaking down themes of identity, gentrification, and art/music as revolution.

Hydropunk was a Bronx based community collective founded by siblings Monica and Jose Flores.

Hydr0punk aimed to promote borough unification by producing local punk and hip-hop shows, art expos, fundraisers, and political workshops.

The Bronx is the birthplace of hip-hop, so music is an essential part of being from here. The DIY spaces in the Bronx gave us a home, one that we felt institutions didn’t provide and was unique to our culture. We laughed, we cried, we sang, we danced, and we talked about the issues we were facing in our community.

I always believe we have the power to manifest new worlds and spaces for ourselves. While the world feels like it’s collapsing, I have faith in the rising generations to be imaginative. I see the NYC Punx of Color scene transforming through art, music, theater, and community aid following this pandemic.”

Tiara Torres

Edith, Monica, and Tiara

Necia’s Jessi Castro, Aru Apaza, and Ingrid Romero

“Our band started with all women of color.

Being Brown, being Latinx, working class, and indigenous young femmes, we went through a lot. There was a strong sisterhood but there was also so much about each other that we were learning. I’m excited to see what comes next. I think there are a lot of future possibilities for femmes of color in punk.”

Ingrid Romero

Witch Slap’s Cami Best And Lizzi Reid

Witch Slap Bassist Cami Best

Fairy God Performing At La Jungla

Monica Flores Runs The Door At Legendary Bronx Space La Jungla

Blu Anxxiety Frontman Chi Performs At La Jungla

“I’ve always felt like an outcast, even at other punk shows—I never felt accepted. They would look down on us. Why? Maybe it’s because I’m Brown, I’m loud, and I just don’t give a fuck. People are afraid of that. They don’t like a confident Brown person.”

Chi

Huitzomitl Performs With Junta

Fairy God, Dante L. Figueroa, And Max Drury Mosh At La Jungla

H.B.I.C.’s Adrian Miles At The Glove

Ghula Frontwoman Zayn Shaikh

“No Flowers For YT Powers came together after I gave a call to arms, a call to action, a call to collectivize, to see if someone else was feeling similarly about the New York City music scenes and especially the punk scene. For me, at the time—as a Black and Brown person just needing camaraderie and not getting that— needing a space that was meant for me to be. I put on Black and Brown bands and not just the one token band. No Flowers was and is still an outlet for collective members, but hopefully can be an outlet for other like-minded folks to go to shows and go to parties where they know they’ll feel welcome, safe and be heard– unlike these niche underground scenes where you have to put up with certain undertones (or maybe even overtones) of racism, homophobia, and transphobia that exist anywhere you go. And specifically with music scenes, you’d think there were certain spaces made for you, that would allow you to “be,” but it’s still gatekeep-y, still very racist—if not blatantly racist, then just racist in actions of others and in gatekeeping. So No Flowers was just me trying to put together a collective that could put on shows, that could protect the folks that came to the shows and parties—a collective that could do more, a collective that could work with other collectives and other promoters and bands. A collective that would work on making a difference, make some noise, make some music. In this age where fascism and all the hate in world is getting louder and louder, getting more and more brave in coming out—we need to match that energy and be even louder, be even more productive, be even more creative.

We have every right and reason to exist and No Flowers is that response. All of the No Flowers For YT Powers events have been so memorable—the Halloween shows, the workshops, the parties—it’s been great to be part of this collective, to bring together so many different crowds and energies and so many different people from all over. It has been really beautiful.”

Adrian Miles

Bruja Luna At The Glove

“I miss the scene. I miss Punx of Color shows.

But most of all, I miss the punks of color who would come to shows.�

Adrian Miles

Dracula O At Planet X

Ghula At Planet X

“That was such a great venue and the last show I played drums in before the pandemic shut everything down. It was a real New York punk show, with its good shit and its bullshit that I will never take for granted again. Bring back all the bullshit—I just want to play shows! ” Mani

“As long as there is some kind of government, there will always be punk music and rebellion.�

Chi

Staten Island Punk Festival Punk Island

“At that time I was going through some really dark shit, but that night I felt at home and right where I wanted to be. I threw up all over my shirt at the end of our set.�

Christian Anger

“This was the first time I saw Dreamcrusher perform. They take the art of noise to a whole new level. I had never seen or heard anything like this before—it was pure magic.”

Destiny Mata

Dreamcrusher Performs At Brooklyn’s Secret Project Robot

Machine Girl At Secret Project Robot

“When Shawty started, there was no intention or plan for it to ever be a thing. I never had any plan to be a musician as I respect musicians so much, but I had always wanted to be involved with music. It changed my life dramatically and I wouldn’t be where I am now if it wasn’t for music.

I feel so much gratitude, and that’s what made me start throwing shows in the first place, to give back to something that gave so much to me and it was a way to be in touch and in tune with music and musicians without ever playing music myself. In terms of the Punx of Color scene, there needs to be more of us, we need to be louder, we need to stop these white crust punk gentrifier kids from Minnesota or backwoods wherever from gatekeeping our scene and dictating how we maneuver, what we to listen to, who we should book, and at which venues.

I think there needs to be a resurgence of the native. I think there needs to be more of us talking to each other and realizing that we are out there. But being visible is being vulnerable and that’s scary, but as long as people remember that they will attract that tribe, it becomes less scary because there is power in numbers. I just want to offer myself and my resources to any Black punk, POC punk of color, who wants to play or needs space to practice, or wants to have conversations, Shawty in and of itself is a vehicle for that and we’re open to that as well.”

Yung Mayne

Shawty Performs At Greenpoint’s Brooklyn Bazaar

“Bands like Shawty and Posterboy2000 are doing stuff they feel is valid and cool. They are doing the shit that they fuck with, it’s awesome.

This is what I really miss.

I want play with these guys again.”

Nachi Conde-Farley

Not Amused Brooklyn Basement Show

Photographer Muhstee At NotAmused Basement Show

“To me, basement shows are the coolest because everything is way more chaotic, and the sound is more gritty—everything just sounds way louder and explosive in a basement.”

Posterboy2000

“Playing shows felt like the most intense relationship that you could have compacted into 10-15 sweaty loud minutes with a crowd. It’s such a transference of energy—you give what you get. The shows were amazing and so much fun.”

Yung Mayne

Shawty Drummer Yung Mayne Plays At Brooklyn Bazaar

Show Me The Body At Greenwhich Village’s City-As-School High School

Monica Flores At Hart Bar

Bruja Luna At Hart Bar

Dog Breath Performs At Hart Bar

Samantha Flores At Tompkins Square Park

Joey Richie At Tompkins Square Park

“Since 1857, Tompkins Square Park has been a singular location for the people of New York City’s underbelly to air their grievances against the ruling class’s habit of turning a blind eye towards working immigrant and POC populations, on whose backs the city is constantly being built and maintained. The streets of the Lower East Side have ever after been a mecca for seekers of truth and makers of beauty to express and overcome their anguish and oppression in new and creative ways. Documenting many celebrations of triumph over hegemony, these images capture a flourishing May Day celebration. This Anarchist holiday has its origins in martyred revolutionaries and their struggles, as well as ancient vernal fertility festivals. Destiny’s photographs perfectly capture this spirit, of both reverence and joy, of mourning and loss over a gentrifying community, as well as the lashing out against the yoke of social displacement. This is the place where everyone comes to finally fit in, to find their voice and play from their hearts. Although so much is lost in the chaos, punk and NYHC are never without controversy over genre and venue, persona and popularity—the disruption and disputation are symptomatic of the ways that creative communities in urban settings tend to spill over and seethe, as they are a constantly changing, dynamic Heraclitan River.

From her origins on the banks of our East River, this work is an honor bestowed upon all the Whitmanian masses’ mania for five minutes of underground fame—those who pass through the neighborhood with something to say and something to show for it. In a period of great disruption in art, politics, and life, a significant constant is the artist’s lens, the scepter with which she crowns us freak denizens as Knights in the Court of Struggle and Song.”

Joey Richie

Twisted Thing At Bushwick’s Market Hotel

“We were so honored to be included on such an amazing bill. We all love BbyMutha so much, and the way that that show was curated was so bomb! Everyone was so receptive and open to us, mad younger femmes approached us after to tell us they dug our shit and that was just everything!�

Tay Simms

Wiki Performs At Market Hotel

R.I.P.

“A lot of the places are gone, but what was important was the spirit and the energy behind it all. So remember that and make sure you bring that to the next spot. Strive for that. It’s not a matter of, “Oh, you weren’t at this spot and there will never be another spot like this.” Just keep doing it. If you think it’s valid then go for it. People actually need this. There’s a necessity to it. It’s not because the market demands a new cool place—it’s because marginalized people need marginalized spaces. They come together and survive off of that community. As long as people are hungry for it, spaces will form.”

Nachi Conde-Farley

THE WAY WE WERE Š 2021 Culture Crush, Inc. Photographs Š 2021 Destiny Mata All rights reserved. No part of this book may be reproduced in any manner or transmitted by any means whatsoever, electronic or mechanical (including photocopying, recording, internet posting, or any other information storage or retrieval system) without prior written permission of the publisher.

Published in the United States by Culture Crush Editions 20 West 20th Street #301 New York, N.Y. 10011 email: contact@theculturecrush.com www.theculturecrush.com ISBN 978-1-63795-538-3 First Edition, 2021

Printed In The United States of America BOOK DESIGN BY DEBRA SCHERER

ACKNOWLEDGEMENTS Giving much respect & thanks to all the organizers, musicians, artists, venues, collectives, who make the NYC underground punk scene so special. Sending my love to my mom MaryAnn Mata, Tia Chayo Mata, and my abuelitos Luis & Juanita Mata for always encouraging and inspiring me to express myself through creativity.

Big shout outs and thank you to photographer Ricky Flores for introducing me to The Culture Crush and so much appreciation for illustrator Daisy “Draizy” Ruiz for sprinkling her magical artwork throughout the book. And grateful & thankful to Debra Scherer for designing and publishing The Way We Were.

THANKS FOR THE MUSIC: AGUAPANELAMAMI, ANINOKO, ATRUTH, BIDET, BLU ANXXIETY, BRUJA LUNA, CHANNEL 63, CHOKED UP, CRYSTO MARTYR, DECISIONS, DELI GIRLS, DOG BREATH, DOG SHEPHERD, DREAMCRUSHER, ESKROFULA, FAIRY GOD, FAT HEAVEN, FLOR Y LLANTO, FLOWER, H.B.I.C., HARAM, HUASIPUNGO, JUNTA, KREATURE, LAKRAS, LIMP WRIST, POBREZA MENTAL, POSTERBOY 2000, RATAS EN ZELO REBELMATIC, REBUSCHAOS, RUBBER, SPIC, TERRORIST, TWISTED THING, MACHINE GIRL, MAD DIESEL, MADUROS, MAFAA, MALA VISTA, NAMATAY SA INGAY, NECIA, NOT AMUSED, OLOR A MUERTE, SKARRONEROS, R-TRONIKA, SHAWTY, SPECIAL INTEREST, SHOW ME THE BODY, SIAL, V4P0RU, WATERLOGGED, WIKI, WITCH SLAP, ZEN YR MIN

AND TO ALL THE PUNKS OF COLOR!