I met Rich Hall eleven years ago via the infamous AOL HARDCORE MUSIC chat room. We became fast friends due to our love of brutal bands, bathroom humor, and that unspoken trust and loyalty that only comes with spending most of your life thriving in punk and hardcore. Rich was different than a lot of people I met from hardcore. He wasn't in a band or a full time tour dude, Rich booked shows. Not only did Rich book shows, he booked shows at CBGBs, the infamous Bowery nightclub where American punk rock and New York hardcore were born. You don't end up booking at CBGB if you are some hack of a dude. Since I've known him, Rich and his company, 1000 Knives, have been a regular fixture for shows in New York. He was instrumental in booking several 9/11 Benefit shows, the final days of CBGB, and has since put on a few successful SXSW showcases. I recently caught up with Rich to ask him about the history of 1000 Knives, how he got into booking shows, and for some advice for young bands and promoters trying to come up in the world today.

EP: When did you start booking shows? Did you start out as 1000 Knives or did you start out working for someone else before striking out on your own?

RH: I started to be interested in doing shows in the summer of 94. I was going to a lot of shows at CBGB, and my cousin and I finally mustered up the courage to ask the guy running the show if he needed help passing out flyers. We became friends and showed me how to do things. He got me the job at CB's doing security (read: watching the back door at bigger events). It didn't just start there, though. I didn't magically start booking shows. He took me out to Long Island. The scene was an odd middle ground as far as activity goes. He introduced to me to Marc Lopez, who was running a collective and I started doing the door at his shows. By working at CBGB and working the shows on Long Island, I was exposed to how a show was run from set up to booking  to the money to dealing with whoever ran the club. From four years to the day I started getting involved,  I did my first show. It was in Long Island with Isis, Cable, and a few other bands. In March of 99 my friend moved away and there was a mini void at hardcore shows at CBGB's. I asked the club if I could book a show there. From there it snowballed.


EP: Have you worked mostly with established bars/clubs/venues or with rented spaces (i.e. VFW halls/community centers)?

RH: We started out doing shows at this great catering space in Mineola called Deja 1. It was this banquet hall we brought a PA into. The guy who ran it loved us and let the collective book there exclusively and we made sure his venue didn't get destroyed. It was a trust/respect thing. We did shows there for four years. It was a pretty great run. During this time, I started working at CBGB. When I made the jump, it was like getting drafted to the major league. I was able to make it my home base for shows. I booked at CBGB from 1999 to 2006. I had to take down the awning on the last night. Currently, I book at nine different places ranging in size, age limit, and location. It allows variety to come through different places throughout New York and makes for the best possible show for everyone.


EP: What did it take for you to get your start promoting/booking shows? Was your education mostly learned on the job? Were there certain classes to took in high school or college that helped you hone your craft?

RH: My “booking” education was definitely all “on the job”. I went to art school. I don’t have a  business degree. I never took any marketing classes. I learned from what life gave me to handle. I learned from everyone else’s mistakes and mishaps. From how the world was just handed to me. The Bowery was the realest classroom to learn in. I had some great mentors from there and I also met some shitty people to use as examples of how to never be. I really learned what to do and what not to do there. I apply that everyday and try to be a mentor and a leader and not a scumbag or someone who be can't trusted.

EP: What has 1000 Knives done thus far that you are the most proud of?

RH: I usually say "it's just a shows", but I guess bringing music to people makes a lasting impression. It made so much of an impression on me I went and started booking shows . I was happy enough to check out shows without regard to how they happened, and never thanked anyone who set one up. However, once a kid took me aside and pretty much poured his heart out about what I did for him and how it's going to suck moving to other place in the world and not having that. It really made me think. Doing shows really can make a difference. That's what I am the most proud of: the ability to bring people something to enjoy and look forward to.


EP: What has been the most challenging thing 1000 Knives has faced and overcame?

RH: Trying to be righteous in a profession where you're looked at the enemy. I try to be honest and try to be comforting to everyone that crosses my path. That's how I want to be treated if I’m away from home and depending on someone else to make my stay as much like home as possible. I really hope I do that for some people.


EP: As a promoter, what advice do you newer local bands trying to get in shows in their town?

RH: When you're starting out, play until your hearts content. If you're a little more established, starve your scene. Don't play too many shows. People will get sick of you and promoters won't book you. If you start playing and draw well, promoters are going to seek you out. If you play all the time, you’re going to burn everyone out. Be conscious of the shows you play and make them count.


EP: How about for bands trying to book DIY tours? What can bands do to make themselves appear more appealing to bookers outside of their own locales?

RH: Don't expect anything. Whatever you get in Columbia, Missouri in a basement with four people paid is the best you're going to get. It's not how much money you make, it’s the impact you make on those four people. Next time it'll be twelve, then twenty-nine, then so on and so forth. Just be happy with what others are doing for you. Bookers are fans. This why we do it. We want to see these bands come from all sorts of places and show them off to an audience. Be happy where you play and if you're hungry enough. you'll get fed eventually.


EP: What does the rest of 2011 look like for 1000 Knives? What are your plans for 2012?

RH: Shows. Bringing the people what they want. New music. Maybe some old music they haven't heard in a while. Who knows? The possibilities are limitless. Oh, possibly getting another dog.


EP: What's the most valuable thing you've learned from doing 1000 Knives?

RH: I learned i don't have to be anyone except for myself. People will love and respect you no matter what. Even though you're in position that makes all the calls, treat everyone equally. You'll be loved and respected forever.


EP:  Any last words, shout outs, thank yous, or disses?


RH: THIS GOES OUT TO ALL THE BABIES THAT CAME FEET FIRST!!! (I’ve always wanted to say that). First, thanks to you, Erick, and Mike Hellfish for asking me these questions. Much love and respect to you both. Support music: local promoters, local bands, whoever is involved. Big thanks to Tyler King and Marc Lopez for giving me the chance and the guidance to do this. I want to give love to everyone. Please check out www.1000knives.com. It's more than a show listing site, there's interviews and much more on there. Special thanks to everyone who has supported me over the years. It's not forgotten.