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==History==
==History==
Dolla Dolla bill ya'll!
===1970s and mid 1980s===
====Los Angeles====
[[Image:Blackflag84.jpg|thumb|right|[[Black Flag (band)|Black Flag]] performing live in 1984]]
[[Michael Azerrad]], author of ''[[Our Band Could Be Your Life]]'', credits [[Black Flag (band)|Black Flag]] as being the "godfathers" of hardcore punk.<ref name="ReferenceA">Azerrad, Michael, ''Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991''(Underground Music) ISBN 0-316-78753-1</ref> Black Flag was formed in [[Hermosa Beach, California]] by [[guitarist]] and [[lyricist]] [[Greg Ginn]], they played their first show in December 1977. Originally called "Panic" they became known as Black Flag in 1978, and made a name for themselves in the Los Angeles hardcore scene.<ref>^ a b c Grad, David. "Fade to Black." Spin. July 1997</ref>

By 1979, Black Flag were joined by other Los Angeles-area bands playing hardcore punk, including [[Fear (band)|Fear]], [[The Germs]], and the [[Circle Jerks]] (which featured Black Flag's original singer, [[Keith Morris]]). This group of bands was featured in [[Penelope Spheeris]]' 1981 documentary film about the Los Angeles punk scene, ''[[The Decline of Western Civilization]]''.<ref>http://www.imdb.com/title/tt0082252/</ref> By the time the film was released, new hardcore bands had formed in the area, including [[The Adolescents]], [[Angry Samoans]], [[Bad Religion]], [[The Descendents]], [[Dr. Know (band)|Dr. Know]], [[Ill Repute]], [[Minutemen (band)|Minutemen]], [[Suicidal Tendencies]], [[TSOL]], [[Wasted Youth (American band)|Wasted Youth]], and [[Youth Brigade]].

While popular traditional punk bands like the [[Ramones]], [[The Clash]], and [[Sex Pistols]] were on major record labels, the hardcore punk bands were not (Black Flag was briefly signed to [[MCA Records|MCA]] subsidiary Unicorn Records but were dropped because an executive considered their music anti-parent).<ref>{{cite web | title = Black Flag | work=Sounds magazine | url = http://www.micksinclair.com/sounds/bf.html | accessdate = May 27, 2006 }}</ref> Instead of trying to be courted by the major labels, hardcore bands started their own labels and distributed their records themselves. Greg Ginn started [[SST Records]] which released Black Flag's first EP ''[[Nervous Breakdown (album)|Nervous Breakdown]]'' in 1979. SST went on to release a number of albums by other hardcore artists, and was described by Michael Azerrad as "easily the most influential and popular underground indie of the Eighties".<ref name="ReferenceA"/> SST was followed by a number of other successful artist-run labels — including [[BYO Records]] (started by Shawn and Mark Stern of Youth Brigade), [[Epitaph Records]] (started by [[Brett Gurewitz]] of Bad Religion), [[New Alliance Records]] (started by the Minutemen's D. Boon) — as well as fan-run labels like [[Frontier Records]] and [[Slash Records]].

Bands also funded and organized their own tours. Black Flag's tours in 1980 and 1981 brought them in contact with developing hardcore scenes in many parts of North America, and blazed trails that were followed by other touring bands.<ref>[http://www.punknews.org/bands/blackflag Black Flag]</ref><ref>[http://www.britannica.com/eb/article-9105869/Black-Flag Britannica.com]</ref><ref>[http://www.vh1.com/artists/az/black_flag/bio.jhtml VH1 - Black Flag]</ref> Youth Brigade would also be one of the first bands to tour, chronicling it in the 1984 documentary "[[Another State of Mind (film)|Another State of Mind]]".<ref>http://www.imdb.com/title/tt0198307/</ref>

The Another State Of Mind tour was funded by "Youth Movement '82" a show organized by BYO at the [[Hollywood Palladium]] that in addition to Youth Brigade featured, TSOL, The Adolescents, Wasted Youth, [[Social Distortion]], and [[Blades (band)|Blades]]. The show was one of the largest punk shows ever held at the time attracting over 3,500 people.<ref>http://www.byorecords.com/index.php?page=one_band&aid=17</ref>

Concerts in the early Los Angeles hardcore scene increasingly became sites of violent battles between police and concertgoers. Reputed violence at hardcore concerts was featured in episodes of the popular television shows ''[[CHiPs]]'' and ''[[Quincy, M.E.]]'', in which Los Angeles hardcore punks were depicted as being involved in murder and mayhem.<ref>[http://www.chips-tv.com/wiki/index.php?title=Battle_of_the_Bands Battle of the Bands – CHiPs Wiki]</ref>

====San Francisco====
Shortly after Black Flag debuted in Los Angeles, the [[Dead Kennedys]] were formed in San Francisco. While the bands early releases were played in a style closer to traditional punk rock, 1981's ''[[In God We Trust, Inc.]]'' marked a shift into what is conventionally seen as hardcore. Like Black Flag and Youth Brigade, the Dead Kennedys released their albums on their own label [[Alternative Tentacles]]. In addition to Dead Kennedys albums, Alternative Tentacles was responsible for releasing the seminal hardcore punk compilation ''[[Let Them Eat Jellybeans!]]''

While not as large as the scene in Los Angeles, the [[San Francisco Bay Area]] hardcore scene of the 80s included a number of noteworthy bands in addition to the Dead Kennedys including, [[Blast (band)|Blast]], [[Crucifix (band)|Crucifix]], [[Flipper (band)|Flipper]], [[Kwik Way (band)|Kwik Way]], and [[Whipping Boy (American band)|Whipping Boy]]. Additionally, during this time seminal [[Texas]] based bands, [[The Dicks]] and [[MDC (band)|MDC]], relocated from [[Austin, Texas|Austin]] to San Francisco.

[[Image:Maximum rocknroll.jpg|left|thumb|''Maximum Rocknroll Issue #1'']]
This scene was helped in particular by the San Francisco club [[Mabuhay Gardens]], whose promoter, [[Dirk Dirksen]], became known as "The Pope of Punk".<ref>{{cite news| url=http://articles.sfgate.com/2006-11-22/bay-area/17321473_1_dirk-dirksen-mabuhay-gardens-dead-kennedys | work=The San Francisco Chronicle | title=KEN GARCIA – S.F. Punk – Those Were The Days / Mabuhay Gardens featured likes of Switchblades, Devo | first=Joel | last=Selvin | date=2006-11-22}}</ref> Another important local institution was [[Tim Yohannan]]'s [[fanzine]], [[Maximumrocknroll]], as well as his show on [[Berkeley, California]] [[Public broadcasting|public radio]] station [[KPFA]] ''Maximum RocknRoll Radio Show'' which played the younger [[Northern California]] bands.

====Washington, D.C.====
The first hardcore punk band to form on the east coast of the United States was Washington, D.C.'s [[Bad Brains]]. Formed in 1977 and consisting of all [[African-American]] members, their early songs featured some of the fastest tempos in [[rock music]].<ref>[http://homepages.nyu.edu/~cch223/usa/badbrains_main.html Bad Brains]</ref> The band released its first single, "[[Pay To Cum]]", in 1980, and were influential in establishing the D.C. hardcore scene.

Inspired by Bad Brains, [[Ian MacKaye]] and [[Jeff Nelson (musician)|Jeff Nelson]] started [[Teen Idles]] in 1979. That band broke up in 1980, and the pair formed [[Minor Threat]], who became a big influence on the hardcore punk genre. They incorporated off-beat notes and vocals, faster rhythms, and more aggressive riffs into their music. The band also inspired the [[straight edge]] movement with their song "Straight Edge", which spoke out against alcohol and drugs. MacKaye and Nelson ran their own record label, [[Dischord Records]], which released albums by D.C. hardcore bands including: [[The Faith]], [[Iron Cross (band)|Iron Cross]], [[Scream (band)|Scream]], [[State of Alert]] (featuring [[Henry Rollins]]), [[Government Issue]], [[Void (band)|Void]], and [[Youth Brigade (Washington, D.C. band)|Youth Brigade]] (not to be confused the Los Angeles band of the same name). The record label was run out of the Dischord House, a Washington, D.C. [[punk house]].

====Boston====
Many of the first Boston-area hardcore bands were influenced by D.C.'s [[straight edge]] scene. Members of seminal bands like [[DYS (band)|DYS]], [[Negative FX]], [[Slapshot (band)|Slapshot]] and [[SS Decontrol]] formed a more [[Hardline (subculture)|militant straight edge]] crew known as the Boston Crew. The more militant straight edgers would beat up kids who were drinking or doing drugs. In the late 1980s, [[Elgin James]] became involved in the militant faction of the Boston straight edge scene, and he later helped found the organization [[Friends Stand United]].

While many of the Boston-area bands espoused straight edge values in their music, others partook in drugs and alcohol. [[Gang Green]], who formed in 1980 before the straight edge movement, reacted against the movement by having album covers with their name written in [[cocaine]], or in a logo based on the [[Budweiser]] logo.<ref>http://www.interpunk.com/item.cfm?Item=39322&</ref><ref>http://www.interpunk.com/item.cfm?Item=151291&</ref>

In 1982, [[Modern Method Records]] released ''[[This Is Boston, Not L.A.]]'', a seminal compilation of the Boston hardcore scene. The album included songs by: [[The Proletariat]], [[The Freeze]], [[The F.U.'s]], [[Jerry's Kids]] and Gang Green. Curtis Casella's [[Taang! Records]] was also pivotal in releasing material by bands from this era.

====New York====
{{Main|New York hardcore}}
The [[New York City]] hardcore scene emerged in 1981 when [[Bad Brains]] moved to the city from [[Washington, DC]].<ref>Andersen, Mark and Jenkins, Mark (2001). ''Dance of Days: Two Decades of Punk in the Nation's Capital''. (New York: Soft Skull Press). ISBN 1-887128-49-2</ref><ref>Blush, Steven (2001). ''American Hardcore: A Tribal History''. (Los Angeles: Feral House). ISBN 0-922915-71-7</ref> Starting in 1981, there was an influx of new hardcore bands in the city, including: [[The Mob (New York band)|The Mob]], [[Heart Attack (band)|Heart Attack]], [[Kraut (band)|Kraut]], [[Beastie Boys]], [[Urban Waste]], [[Agnostic Front]], [[Reagan Youth]], [[No Thanks]], [[The Icemen]], [[Crumbsuckers]], [[Murphy's Law (band)|Murphy's Law]], [[Cro-Mags]], and [[Warzone (band)|Warzone]]. A number of bands associated with the New York City hardcore scene came from nearby [[New Jersey]], most famously the [[Misfits (band)|Misfits]]. Others included [[Adrenalin OD]], [[Mucky Pup]] and [[The Undead]]. In the early 1980s, the New York hardcore scene was headquartered in a small after-hours bar, [[A7 (bar)|A7]], on the lower east side of Manhattan. Later, New York's hardcore scene was centered around [[CBGB]], whose owner [[Hilly Kristal]], who embraced hardcore punk. For several years, CBGB held weekly hardcore matinees on Sundays. This stopped in 1990 when violence led Kristal to refuse to book hardcore shows.

[[Image:CBGB club facade.jpg|thumb|left|Facade of legendary music club [[CBGB]], New York]]
Early radio support in New York's surrounding [[Tri state area]] came from Pat Duncan, who had hosted live punk and hardcore bands weekly on [[WFMU]] since 1979.<ref>{{cite web | author= | year= | title=Playlists and Archives for Pat Duncan | work=WFMU | url=http://www.wfmu.org/playlists/PD | accessdate = 2006-12-22}}</ref> [[Bridgeport, Connecticut]] had an early show that featured hardcore called Capital Radio, hosted by [[Brad Morrison]] on [[WPKN]], beginning in February 1979 and continuing weekly until late 1983. In [[New York City]], Tim Sommer hosted ''Noise The Show'' on [[WNYU]].<ref>{{cite web | author= | year= | title=Tim Sommer | work=Beastiemania.com | url=http://www.beastiemania.com/whois/sommer_tim/ | accessdate = 2006-12-22}}</ref> In 1982, [[Bob Sallese]] produced ''[[The Big Apple Rotten To The Core]]'' compilation on S.I.N. Records, featuring [[The Mob (New York band)|The Mob]] and Ism, along with four other bands from the early A7 era. The album gained notoriety on the commercial radio station [[WLIR]], and nationally on college radio. The album prompted WLIR to begin a late-night hardcore show, ''Midnight Riot'', hosted by Ben Manilla. The LP was followed by ''The Big Apple Rotten To The Core, Vol. 2'' in 1987 on Raw Power Records.

====Other North American regions====
[[File:Bowser_boman_brannon.jpg|thumb|200px|From left: Richard Bowser of [[Violent Apathy]], [[Scott Boman]] of the [[Degenerates]] & [[Spite (punk band)|Spite]], and John Brannon [[Negative Approach]].]]
[[Minneapolis hardcore]] consisted of bands like [[Hüsker Dü]] and [[The Replacements (band)|The Replacements]], while [[Chicago]] had [[Articles of Faith (band)|Articles of Faith]], [[Big Black]], and [[Naked Raygun]]. The [[Detroit]] area was home to [[Crucifucks]], [[Degenerates]], [[The Meatmen]], [[Negative Approach]], [[Spite (punk band)|Spite]] and [[Violent Apathy]]. [[JFA (band)|JFA]] and [[Meat Puppets]] were both from [[Phoenix, Arizona]], [[7 Seconds (band)|7 Seconds]] from [[Reno, Nevada]], while [[Butthole Surfers]], [[Big Boys]], [[The Dicks]], [[Dirty Rotten Imbeciles|DRI]], [[Really Red]], and [[MDC (band)|MDC]] were from [[Texas]].
Hardcore bands in [[Washington (U.S. state)|Washington state]] included [[The Accüsed]], [[The Fartz]], [[Melvins]], and [[10 Minute Warning]]. Also in [[Cleveland, Ohio]] [[Integrity (band)|Integrity]] was leading the hardcore scene.

[[D.O.A. (band)|D.O.A.]] formed in [[Vancouver, British Columbia]] in 1978 and were one of the first bands to refer to their style as ''hardcore'', with the release of their album ''[[Hardcore '81]]''. Other early hardcore bands from British Columbia included [[Dayglo Abortions]] and [[The Skulls (Canadian band)|The Skulls]].

====Europe====
In the [[United Kingdom]] a hardcore scene eventually cropped up. Referred to under a number of names including "U.K. Hardcore", "[[UK 82]]", "second wave punk",<ref>Glasper 2004, p. 8-9</ref> "real punk",<ref>Liner notes, Discharge, ''Hear Nothing See Nothing Say Nothing'', Castle, 2003</ref> and "No Future punk",<ref>Glasper 2004, p. 384.</ref> it took the previous punk sound and added the incessant, heavy drumbeats and distorted guitar sound of [[New Wave of British Heavy Metal]] bands, especially [[Motörhead]].<ref>Glasper 2004, p. 47</ref>

Formed in 1977 in [[Stoke-on-Trent]], [[Discharge (band)|Discharge]] played a huge role in influencing other European hardcore bands. Their style of hardcore punk was coined as [[D-beat]], a term a number of 1980s by imitators of [[Discharge (band)|Discharge]] associated with.<ref name=tez>"I just wanna be remembered for coming up with that f-ckin' D-beat in the first place! And inspiring all those f-ckin' great Discore bands around the world!" - Terry "Tez" Roberts, Glasper 2004, p. 175.</ref> Another U.K. band, [[The Varukers]], were one of the original D-beat bands,<ref>Glasper 2004, p. 65.</ref> and [[Sweden]] in particular produced a number of D-beat bands during this time period including [[Anti-Cimex]], [[Disfear]], and [[Totalitär]].

[[Scottish people|Scottish]] band [[The Exploited]] were also influential, with the term "UK 82" being taken from one of their songs. They contrasted with early American hardcore bands by placing an emphasis on appearance with frontman Walter 'Wattie' Buchan's giant red [[Mohawk hairstyle|mohawk]], and the bands continuance of wearing [[swastikas]] a la [[Sid Vicious]]. Because of this they were labeled by others in the scene as "cartoon punks".<ref>Glasper 2004, p. 360</ref>

Other U.K. hardcore bands from this period included [[Broken Bones]], [[Chaos UK]], [[Charged GBH]], [[Dogsflesh]], [[Disorder (band)|Disorder]], [[English Dogs]], and [[Napalm Death]].


===Late 1980s===
===Late 1980s===

Revision as of 15:35, 21 December 2010

Hardcore punk
Stylistic originsPunk rock
Cultural originsLate 1970s, United States
Typical instrumentsVocals, guitar, bass, drums
Derivative formsCrossover thrash, metalcore, rapcore, post-hardcore, thrash metal
Subgenres
Christian hardcore, d-beat, emo, melodic hardcore, nardcore, powerviolence, skate punk, thrashcore
(complete list)
Fusion genres
Grindcore, crust punk, crossover thrash, digital hardcore, punk jazz, horror punk, metalcore, rapcore, sludge metal, grunge, ska-core
Regional scenes
Australia - Brazil - Japan - Canada
Europe: Italy - Scandinavia: Umeå
USA: Washington DC - California - Chicago - Detroit - Minneapolis - New Jersey - New York - Indiana - Boston - Philadelphia
Other topics
Hardcore dancing, straight edge, youth crew, street punk, DIY punk ethic, list of hardcore punk bands, list of hardcore genres

Hardcore punk is an underground music genre that originated in the late 1970s, following the mainstream success of punk rock. Hardcore is generally faster, thicker, and heavier than earlier punk rock.[1] The origin of the term hardcore punk is uncertain. The Vancouver-based band D.O.A. may have helped to popularize the term with the title of their 1981 album, Hardcore '81.[2][3][4]

Hardcore has spawned the straight edge movement and its associated submovements, hardline and youth crew. Hardcore was heavily involved with the rise of the independent record labels in the 1980s, and with the do it yourself (DIY) ethos in underground music scenes. It has influenced several music genres which have experienced mainstream success, such as: metalcore, grunge, thrash metal, emo and post-hardcore.

Hardcore sprouted underground scenes across the United States in the early 1980s — particularly in Washington, D.C., California, New York/New Jersey, and Boston — as well as in the United Kingdom.

While traditional hardcore has never experienced mainstream commercial success, some of its early pioneers have garnered appreciation over time. Black Flag's album Damaged was included in Rolling Stone's list of The 500 Greatest Albums of All Time in 2003,[5] and the Dead Kennedys have seen one of their albums reach gold status over a period of 25 years.[6] More recently, bands such as Hatebreed, Gallows and Rise Against have achieved commercial success on major record labels.

Although the music started in English-speaking western countries, scenes have also existed in Brazil, Japan, Eastern Europe,[7] and The Middle East.[8]

Music and clothing style

While most early punk rock songs were played with mid-tempo rock beats using simple guitar barre chords in major keys, hardcore broke from this format. Like punk, many of the players lacked musical training (with a few exceptions). The DIY aesthetic of shows being held in small venues on the floors of basements, halls, schools, etc., played into the sound. Much of the style evolved to add to the energy of the live show. Experimentation was the norm.[citation needed] Early recordings were of poor quality, though not by design but by budget constraints, and bands such as The Circle Jerks, Reagan Youth, Flipper, Naked Raygun, and Minor Threat recorded only as a means to promote the live show and document the sounds they were making.[citation needed]

Most bands followed the traditional singer/guitar/bass/drum format. The songwriting had more emphasis on rhythm rather than melody. Hardcore vocalists screamed, chanted and used spoken word poetry. Drummers would play fast D beat one moment and then drop tempo into elaborate musical breakdowns the next. Guitarists were not afraid to play solos, octave leads, and grooves as well as tapping into the various feedback and harmonic noises available to them. The guitar sound was almost always distorted and amplified. With two minutes being considered a lengthy hardcore song, most of the songs were short and rushed.

In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."[9]

This distillation of punk was further emphasized through dress. Hardcore punk fans adopted a dressed-down style of T-shirts, jeans, and crewcut-style haircuts. The style of the 1980s hardcore scene contrasted with the more provocative fashion styles of late 1970s punk rockers(elaborate hairdos, torn clothes, patches, safety pins, studs, spikes, etc.). Keith Morris, "the...punk scene was basically based on English fashion. But we had nothing to do with that. Black Flag and the Circle Jerks were so far from that. We looked like the kid who worked at the gas station or submarine shop."[10]

History

Dolla Dolla bill ya'll!

Late 1980s

By the mid to late 1980s, many of the most prominent hardcore punk bands had broken up. Others continued to perform but changed their sound to embrace other genres. Both of the big Minneapolis bands, Hüsker Dü and The Replacements, evolved into alternative rock bands, Bad Religion made a progressive rock album with Into the Unknown,[11] the Beastie Boys gained fame by playing hip hop, while Suicidal Tendencies also gained fame by going thrash metal, and Bad Brains incorporated more reggae into their music, such as in their 1989 album Quickness.[12] Social Distortion took a hiatus after their first album was released, due to Mike Ness's drug problems, and returned with a sound based more on country music which was referred to as cowpunk.[13] Dischord Records and most of the Washington D.C. scene, gave up hardcore and embraced what was known at the time as emo or post-hardcore.

Youth Crew

While hardcore punk was declining in many American cities, New York City was becoming an even bigger epicenter for hardcore, and in particular the youth crew movement. Youth of Today spearheaded the movement, which went further than straight edge by lyrically expressing views against drugs, alcohol and promiscuous sex, and views in favor of vegetarianism or veganism.[14] In the late 1980s, other New York bands associated with youth crew included Bold and Gorilla Biscuits. Shelter, a more metal-based hardcore band featuring former Youth of Today frontman Ray Cappo, led the youth crew movement after Youth of Today broke up in 1990. Cappo's views led him to became a Hare Krishna. Fellow members of the New York scene, John Joseph and Harley Flanagan of the Cro-Mags also converted, as would new bands embracing youth crew.[15] Youth crew spread beyond New York to Southern California bands like Chain of Strength, Inside Out and Strife.

1990s

At the beginning of the 1990s, bands such as Born Against, Rorschach, Inside Out, Burn, Heroin and Drive Like Jehu took the 1980s styles of hardcore and pushed them into more contemporary sounds. Many of the bands from this era were strongly influenced by other genres, such as heavy metal, alternative, pop, and even rap.

A variety of significantly different styles arose during that decade which led the term hardcore to become more of a broad umbrella term. The different styles included: powerviolence, screamo, emo, youth crew revival, rapcore and metalcore. Many of the bands in the 1990s expressed strong viewpoints, about politics, civil rights, animal rights, straight edge and spirituality. While the 1990s had many different sounds and styles emerging, there were still bands that had sounds that were more reminiscent of the more classic styles of hardcore that developed in the 1980s.

Some bands went on to find success with a larger audience, bringing the term hardcore to the mainstream, while others broke up. Towards the end of the 1990s and the beginning of the 2000s, there was a strong movement towards a more classic hardcore punk attitude and musical style. Many of the metalcore bands from the 1990s found a new audience in the 2000s, with the help of the Internet, music festivals like Hellfest, and the commercial success of Victory Records and Trustkill Records.[16][17]

2000s

With the increased popularity of punk rock in the mid-1990s and the 2000s, hardcore bands started signing with major record labels. The first was New York's H2O, who released their 2001 album Go for MCA. Despite an extensive tour and an appearance on Late Night with Conan O'Brien, the album was not commercially successful, and the band was dropped from the label. In 2002, California's AFI signed to DreamWorks Records and changed their sound considerably for their successful major label debut Sing the Sorrow. Chicago's Rise Against got signed by Geffen Records, and three of their releases on the label were certified Platinum by the RIAA.[18] Rise Against gradually diminished hardcore elements from their music, culminating with 2008's Appeal to Reason, which lacked the intensity found in their earlier albums.[19][20]

United Kingdom band Gallows were signed to Warner Bros. Records for £1 million.[21] Their major label debut Grey Britain was described as being even more aggressive than their previous material, and the band was subsequently dropped from the label.[22] Los Angeles band The Bronx briefly appeared on Island Def Jam Music Group for the release of their 2006 self-titled album, which was named one of the top 40 albums of the year by Spin magazine.[23] They appeared in the Darby Crash biopic What We Do Is Secret, playing members of Black Flag.

In 2007, Toronto's Fucked Up appeared on MTV Live Canada, where they were introduced as "Effed Up".[24] During the performance of their song "Baiting The Public", the majority of the audience were moshing, which caused $2000 in damages to the set.[25]

Influence on other genres

Alternative rock

Some hardcore bands began experimenting with other styles as their careers progressed in the 1980s, becoming known as alternative rock.[26] Bands such as Minutemen, Meat Puppets, Hüsker Dü, and The Replacements drew from hardcore but broke away from its loud and fast formula. Critic Joe S. Harrington suggested that the latter two "paraded as Hardcore until it was deemed permissible to do otherwise".[27]

In the mid-1980s, Washington State bands such as Melvins and Green River developed a sludgy, "aggressive sound that melded the slower tempos of heavy metal with the intensity of hardcore", creating an alternative rock subgenre known as grunge music.[28] One of the most popular grunge bands Nirvana was particularly influenced by a number of hardcore bands, with band members Dave Grohl and Pat Smear being recruited from Scream and The Germs, and singer Kurt Cobain listing numerous hardcore albums among his top 50 favorites.[29]

Emo and post-hardcore

The late 1980s saw the development of post-hardcore, which took the hardcore style in a more complex and dynamic direction, with a focus on singing rather than screaming. The post-hardcore style took shape, in Washington, DC within the community of bands on Ian MacKaye's Dischord Records with bands like Fugazi, Nation of Ulysses, and Jawbox.[30]

Similarly emo's origins also trace back to lates 80s Washington, D.C. Minor Threat fan Guy Picciotto formed Rites of Spring in 1984, breaking free of hardcore's self-imposed boundaries in favor of melodic guitars, varied rhythms, and deeply personal, impassioned lyrics dealing with nostalgia, romantic bitterness, and poetic desperation.[31] Other D.C. bands such as Gray Matter, Beefeater, Fire Party, Dag Nasty, also became connected to this movement.[32][33] The style was dubbed "emo" or "emo-core".[34]

Metal

The Melvins, aside from their influence on grunge, helped create what would be known as sludge metal, which is also a combination between Black Sabbath-style music and hardcore punk.[35] This genre developed during the early 1990s, in the Southern United States (particularly in the New Orleans metal scene).[36][37][38] Some of the pioneering bands of sludge metal were: Eyehategod,[35] Crowbar,[39] Down,[40] Buzzov*en,[37] Acid Bath[41] and Corrosion of Conformity.[38] Later, bands such as Isis and Neurosis,[42] with similar influences, created a style that relies mostly on ambience and atmosphere[43] that would eventually be named atmospheric sludge metal or post-metal.[44]

Metalcore is another metal-based fusion genre which combines hardcore ethics and heavier hardcore music with heavy metal influences. It has been used to refer to bands that weren't purely hardcore and weren't purely metal such as Earth Crisis, Deadguy and Integrity.[45]

Metallica and Slayer, pioneers of the heavy metal subgenre thrash metal, were influenced by a number of hardcore bands. Metallica's cover album Garage Inc. included covers of two Discharge and three Misfits songs, while Slayer's cover album Undisputed Attitude consisted of covers of predominately hardcore punk bands. In turn, hardcore bands such as Corrosion of Conformity, Suicidal Tendencies, and Dirty Rotten Imbeciles, started to incorporate thrash metal into their own music to create a style that DRI coined as crossover thrash.[46]

Thrashcore

Often confused with crossover thrash and sometimes thrash metal, is thrashcore.[47][48] Thrashcore (also known as fastcore[49]) is a subgenre of hardcore punk that emerged in the early 1980s.[50] It is essentially sped-up hardcore punk, with bands often using blast beats.[49]

Thrashcore spun off into powerviolence, another raw and dissonant subgenre of hardcore punk.[48][51]

Politics

Punks burning a United States flag.

Many bands took left wing political stances and were vocally against Republican US President Ronald Reagan, who served in office from 1981 to 1989. Reagan's policies, including Reaganomics and social conservatism, were common subjects for these bands.[52][53] Shortly after Reagan's death in 2004, the Maximumrocknroll Radio Show composed an episode made up of anti-Reagan songs from the 80s including material by Dead Kennedys, Government Issue, DRI, Youth Brigade, Crucifucks, Wasted Youth, Dayglo Abortions, Reagan Youth, TSOL, The Fartz and others.[54]

Similarly during the 2001–2009 presidency of George W. Bush, a number of bands actively espoused anti-Bush stances. During the 2004 United States presidential election artists and bands including Brian Baker, Jello Biafra, Mike Watt, Bad Religion, Circle Jerks, Ensign, Rise Against, Sick of It All, The Unseen, Western Addiction, and Youth Brigade, involved themselves with the anti-Bush political activist group punk voter.[55]

A minority of hardcore bands were relatively conservative, such as The FU's, The Undead, and Antiseen.[citation needed]

Ebullition Records, founded in 1990 by Kent McClard in Santa Barbara, California, often released albums by bands that criticized the American political and economic system, paying less attention to personal issues. Anarchist ethics seeped their way into the work of many hardcore punk bands, most notably Aus-Rotten, who were also popular in the crust punk genre. On the east coast of the United States, bands such as Rorschach and Born Against also played a similar left-wing form of metallic hardcore.[citation needed]

Hardcore dancing

Main articles: Mosh and Hardcore dancing

The early 1980s hardcore punk scene developed slam dancing and stage diving. A performance by Fear on the 1981 Halloween episode of Saturday Night Live was cut short when slam dancers, including John Belushi and members of other hardcore bands, invaded the stage, damaged studio equipment and engaged in some profanity.[56][57] These slam dancers included John Joseph of The Cro-Mags, as well as Ian Mackaye.[58]

In the second half of the 1980s, the thrash metal scene adopted this form of dancing, with bands such as Anthrax popularizing the term mosh with the metal scene.[59]

See also

Notes

  • Hurchalla, George, Going Underground: American Punk 1979–1992 (Zuo Press, 2005)
  • Manley, Frank, Smash the State: A Discography of Canadian Punk, 1977-92 (No Exit, 1993), ISBN 0-9696631-0-2

References

  1. ^ Blush, Stephen (November 9, 2001). American Hardcore: A Tribal History. Feral House. ISBN 0922915717.
  2. ^ "Hardcore Punk music history". Silver Dragon Records. 2003. Retrieved 2006-12-22.
  3. ^ "D.O.A. To Rock Toronto International Film Festival". PunkOiUK. Retrieved 2006-12-22.
  4. ^ "D.O.A." punknews.org. Retrieved 2006-12-22.
  5. ^ "The RS 500 Greatest Albums of All Time". Rolling Stone. Wenner Media. 18 November 2003. Retrieved 24 October 2009.
  6. ^ http://riaa.com/goldandplatinumdata.php?table=SEARCH
  7. ^ http://rateyourmusic.com/list/Kovo/eastern_european_punk_rock__oi__and_hardcore
  8. ^ http://taqwacore.wordpress.com/2009/10/29/middle-eastern-punk-bands/
  9. ^ Blush, Steven, "Move Over My Chemical Romance: The Dynamic Beginnings of US Punk", Uncut, January 2007.
  10. ^ http://www.citizinemag.com/music/music-0303_kmorris.htm
  11. ^ http://www.ocweekly.com/2010-03-25/music/bad-religion-house-of-blues-anaheim/
  12. ^ Darryl Jenifer Of Bad Brains: 'I Want To Be The Soldier Of My Music' | Interviews @ Ultimate-Guitar.Com
  13. ^ http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A69440
  14. ^ http://members.fortunecity.com/youthoftoday/Interviews/interv4.htm
  15. ^ Punkbands: 108 review
  16. ^ Peterson, Brian Burning Fight: The Nineties Hardcore Revolution in Ethics, Politics, Spirit, and Sound ISBN-13: 978-1889703022
  17. ^ Punk Zine Archive http://www.operationphoenixrecords.com/archivespage.html
  18. ^ http://riaa.com/goldandplatinumdata.php?table=SEARCH_RESULTS
  19. ^ http://www.ew.com/ew/article/0,,20230088,00.html
  20. ^ http://www.popmatters.com/pm/review/rise-against-appeal-to-reason
  21. ^ http://www.punknews.org/article/28849
  22. ^ Myers, Ben (2010-01-06). "Gallows' great rock'n'roll swindle". The Guardian. London.
  23. ^ http://www.spin.com/articles/40-best-albums-2006
  24. ^ Sutherland, Sam (2007). ""What the Fuck? Curse Word Band Names Challenge the Music Industry". Exclaim! Magazine. Retrieved 2007-10-31.
  25. ^ Vice magazine: Fucked Up Banned From MTV
  26. ^ Reynolds, Simon (2005). Rip It Up and Start Again: Post Punk 1978–1984 (London and New York: Faber and Faber). ISBN 0-571-21569-6, pp. 460–467
  27. ^ Harrington, Joe S. (2002). Sonic Cool: The Life & Death of Rock 'n' Roll (Milwaukee, Wisc.: Hal Leonard). ISBN 0-634-02861-8, p. 388
  28. ^ Azerrad, Michael (2001). Our Band Could Be Your Life (New York: Little, Brown). ISBN 0-316-78753-1, p. 419
  29. ^ Cobain, Kurt (2002). Journals. Riverhead Hardcover. ISBN 978-1573222327.
  30. ^ https://www.allmusic.com/explore/style/d12962
  31. ^ Greenwald, p. 12-13.
  32. ^ Blush, Steven (2001). American Hardcore: A Tribal History. New York: Feral House. p. 157. ISBN 0-922925-71-7. {{cite book}}: Check |isbn= value: checksum (help)
  33. ^ Greenwald, p. 14.
  34. ^ Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991. New York: Little, Brown and Company. p. 380. ISBN 0316787531.
  35. ^ a b Huey, Steve. "Eyehategod". Allmusic. Retrieved 2008-07-22.
  36. ^ "Doom metal". Allmusic. Retrieved 2008-07-22.
  37. ^ a b York, William. "Buzzov*en". Allmusic. Retrieved 2008-06-21.
  38. ^ a b Huey, Steve. "Corrosion of Conformity". Allmusic. Retrieved 2008-06-21.
  39. ^ Huey, Steve. "Crowbar". Allmusic. Retrieved 2008-06-22.
  40. ^ Prato, Greg. "Down". Allmusic. Retrieved 2008-06-21.
  41. ^ York, William. "Acid Bath". Allmusic. Retrieved 2008-06-21.
  42. ^ Burgess, Aaron (2006-05-23). "The loveliest album to crush our skull in months". Alternative Press. Retrieved 2008-06-22.
  43. ^ Downey, Ryan J. "Isis". Allmusic. Retrieved 2008-06-21.
  44. ^ Karan, Tim (2007-02-02). "Post-metal titans sniff, jump into the ether". Alternative Press. Retrieved 2008-06-21.
  45. ^ "Shai Hulud, interview with Punknews.org - 05/28/08". Retrieved 2008-09-21. As far as coining the term "metalcore" or coining a sound, I don't think we did. There were bands before Shai Hulud started that my friends and I were referring to as "metalcore". Bands like Burn, Deadguy, Earth Crisis, even Integrity. These bands that were heavier than the average hardcore bands. These bands that were more progressive than the average hardcore band. My friends and I would always refer to them as "metalcore" because it wasn't purely hardcore and it wasn't purely metal. It was like a . So we would joke around and say "Hey, it's metalcore. Cool!" But it was definitely a tongue-in-cheek term.
  46. ^ "Hirax". Thrasher. 2005-01-01.
  47. ^ Felix von Havoc, Maximum Rock'n'Roll #198 [1] Access date: June 20, 2008
  48. ^ a b "Powerviolence: The Dysfunctional Family of Bllleeeeaaauuurrrgghhh!!". Terrorizer no. 172. July 2008. p. 36-37.
  49. ^ a b Interview with Max Ward, Maximum Rock'n'Roll [2] Access date: June 19, 2008
  50. ^ Felix von Havoc, Maximum Rock'n'Roll #219 [3] Access date: June 19, 2008
  51. ^ Anthony Bartkewicz. "Screwdriver in the Urethra of Hardcore". Decibel Magazine. July 2007. (Subscription-only site; interview reprinted in full at blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=52501650&blogID=285587688 (blacklisted link). Retrieved November 17, 2008.
  52. ^ Reagan
  53. ^ http://www.house.gov/jec/growth/taxpol/taxpol.htm
  54. ^ http://radio.maximumrocknroll.com/deadreagan/
  55. ^ http://web.archive.org/web/20071013052122/www.punkvoter.com/about/about_members.php
  56. ^ Allmusic Fear bio
  57. ^ Fear on SNL and Ian MacKaye culturebully.com March 1, 2006
  58. ^ http://markprindle.com/stix-i.htm
  59. ^ (2001) "Moshpit", ISBN 0-7119-8744-0, 9780711987449, p.38: Alternatively the term may have been coined by Anthrax or SOD (Storm troopers Of Death), an Anthrax affiliated project whose 'Milano Mosh' was an influential track"

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