Hardcore "history" is a project of collective memory. That means being thoughtful about what we remember—and being careful not to forget why those memories matter.
I don't know if I would say that Endpoint made it easier for Slint or Rodan. As Rob mentions in his interview, Louisville has a long history of eclectic bands like The Endtables and Babylon Dance Band to Maurice and Malignant Growth or Squirrel Bait and Big Wheel. Slint and Endpoint were contemporaries in Louisville, though I don't recall their paths crossing on any shows. And Slint didn't play a lot of local shows (or many shows at all, really). Slint was largely broken up by the time Endpoint hit their stride really. But what Louisville did cultivate was appreciation for all types of music with members of one band playing in other bands with different styles and that continues to happen today. Rob, himself, was in several of those those bands post-Endpoint.
My first show was on 12/22/89 with Kinghorse, Endpoint, Oblong Box, and Crawdad, which represents everything from metal to hardcore to art punk to punk rock. It was probably the best introduction I could have had to the Louisville scene. I saw this same formula replicated later when we would go see larger shows like Agnostic Front with Obituary or Sick Of It All with Kreator. We are also fortunate enough to be centrally located between Cincinnati, Indianapolis, and Nashville, so lots of influences come this way as well. We've also been blessed to have a couple of large labels be located here, i.e. Slamdek and Initial, so that helped too.
Don't take this the wrong way. I love Endpoint. Still have the first Endpoint shirt I ever bought, which my wife wore to the reunion shows they played. I was also lucky enough to have access to a video camera back in the day, so I was able to capture a lot of what was happening here: Endpoint with Insted, Endpoint with Avail (first time in Louisville), Falling Forward, By The Grace Of God, etc. I will agree with you though that those times have largely been forgotten except by us old people and YouTube.
This is so beautifully written. The way that you are creating documentation of cultural memory, and providing the opportunity for others to interact and engage with it, truly feels like a lifeline. My thoughts and feelings reconnect when I read and reflect on the “cumulative effect”. I still remember buying the “Voice of the Voiceless” compilation at Reconstruction Records and then obsessively listening to it. My 1991 self, and current self both thank-you for the ever thoughtful work you are doing.
Thank you, Norman. I think there is something in my eye. Love you
That middlesex show clip--that's where I got smashed in the head with the guitar and started bleeding like a fountain.
This was a particularly messy show!
I hope you start feeling better soon - coming off tour to get flattened by flu can't be any fun at all.
I hope you feel better soon, Norman! It was so great to have a chance to meet you after the irving plaza show.
This is great. Thank you.
I don't know if I would say that Endpoint made it easier for Slint or Rodan. As Rob mentions in his interview, Louisville has a long history of eclectic bands like The Endtables and Babylon Dance Band to Maurice and Malignant Growth or Squirrel Bait and Big Wheel. Slint and Endpoint were contemporaries in Louisville, though I don't recall their paths crossing on any shows. And Slint didn't play a lot of local shows (or many shows at all, really). Slint was largely broken up by the time Endpoint hit their stride really. But what Louisville did cultivate was appreciation for all types of music with members of one band playing in other bands with different styles and that continues to happen today. Rob, himself, was in several of those those bands post-Endpoint.
My first show was on 12/22/89 with Kinghorse, Endpoint, Oblong Box, and Crawdad, which represents everything from metal to hardcore to art punk to punk rock. It was probably the best introduction I could have had to the Louisville scene. I saw this same formula replicated later when we would go see larger shows like Agnostic Front with Obituary or Sick Of It All with Kreator. We are also fortunate enough to be centrally located between Cincinnati, Indianapolis, and Nashville, so lots of influences come this way as well. We've also been blessed to have a couple of large labels be located here, i.e. Slamdek and Initial, so that helped too.
Don't take this the wrong way. I love Endpoint. Still have the first Endpoint shirt I ever bought, which my wife wore to the reunion shows they played. I was also lucky enough to have access to a video camera back in the day, so I was able to capture a lot of what was happening here: Endpoint with Insted, Endpoint with Avail (first time in Louisville), Falling Forward, By The Grace Of God, etc. I will agree with you though that those times have largely been forgotten except by us old people and YouTube.
This is so beautifully written. The way that you are creating documentation of cultural memory, and providing the opportunity for others to interact and engage with it, truly feels like a lifeline. My thoughts and feelings reconnect when I read and reflect on the “cumulative effect”. I still remember buying the “Voice of the Voiceless” compilation at Reconstruction Records and then obsessively listening to it. My 1991 self, and current self both thank-you for the ever thoughtful work you are doing.
Rob and all of Endpoint are an inspiration...
I can’t even tell you how much I love this! Thanks Norman - m