Hardcore punk
From Wikipedia, the free encyclopedia
| Hardcore punk |
| Stylistic origins | Punk rock, Heavy metal music |
| Cultural origins | Late 1970s, United States |
| Typical instruments | Vocals, guitar, bass, drums |
| Mainstream popularity | Low with some exceptions |
| Derivative forms | Thrash metal, crossover thrash, metalcore, rapcore, post-hardcore |
| 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, skacore |
| 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, best known as
hardcore, 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 magazine's 2003 list of
the 500 greatest albums of all time,
[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, large hardcore scenes proliferate today in
Brazil,
Japan, Eastern Europe,
[7] The Middle East,
[8] and
Malaysia.
Music and clothing style
The musical style of hardcore has evolved and branched out into countless separate sub-genres over the years. While the exact origins of each style are debatable, early hardcore bands had definitive similar elements of the sound. It differed from the traditional
punk rock style drastically. Most early punk rock songs were played with mid-
tempo rock beats using simple guitar
barre chords in
major keys. However, 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. 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.
Most bands followed the traditional singer/guitar/bass/drum format. The songwriting had more emphasis on
rhythm rather than
melody. Hardcore vocalists
screamed,
rapped,
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
1970s and mid 1980s
Los Angeles
Michael Azerrad, author of
Our Band Could Be Your Life, credits
Black Flag as being the "godfathers" of hardcore punk.
[11] 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.
[12]
By 1979, multiple Los Angeles-area bands were playing hardcore punk in addition to Black Flag, including
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.
[13] By the time the film was released, new hardcore bands had formed in the area, including
The Adolescents,
Social Distortion,
Angry Samoans,
Bad Religion,
Dr. Know,
Ill Repute,
Minutemen,
Suicidal Tendencies,
TSOL,
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 subsidiary Unicorn Records but were dropped because an executive considered their music "Anti-Parent).
[14] 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 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".
[11] 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.
[15][16][17] Youth Brigade would also be one of the first bands to tour, chronicling it in the 1984 documentary "
Another State of Mind".
[18]
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. The show was one of the largest punk shows ever held at the time attracting over 3,500 people.
[19]
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.
[20]
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,
Crucifix,
Flipper,
Kwik Way, and
Whipping Boy. Additionally, during this time seminal
Texas based bands,
The Dicks and
MDC, relocated from
Austin to San Francisco.
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".
[21] Another important local institution was
Tim Yohannan's
fanzine,
Maximumrocknroll, as well as his show on
Berkeley, California public radio station
KPFA Maximum RocknRoll Radio Show which played the younger
Northern California bands.
Washington, D.C.
The first hardcore band to form on the East Coast was Washington, D.C.'s
Bad Brains. Formed in 1977, and consisting of all
African-American members, their early work often featured some of the fastest tempos in
rock music.
[22] The band would release its first single
Pay To Cum in 1980, and it would appear on the Alternative Tentacles "Let Them Eat Jellybeans!" compilation.
Bad Brains would prove influential in establishing a D.C. Hardcore scene. Inspired by them,
Ian MacKaye and
Jeff Nelson started
Teen Idles in 1979. They broke up in 1980 and formed the highly influential
Minor Threat. Minor Threat played an aggressive, fast music style that was directly influenced by Bad Brains. They became a direct influence on hardcore, incorporating off-beat notes and vocals, faster rhythms, and more aggressive riffs, as well as inspiring the
straight edge movement with their song, "Straight Edge", which spoke out against alcohol and drugs.
Like many of the artists in California, MacKaye and Nelson ran their own record label
Dischord Records. Dischord would release albums for fellow D.C. hardcore artists such as
The Faith,
Iron Cross,
Scream,
State of Alert (which featured future Black Flag singer
Henry Rollins),
Government Issue,
Void, and
Youth Brigade (not to be confused with the similarly named Los Angeles band).
Washington was home to one of the most famous
punk houses the "Dischord House" where Dischord Records was run out of. The house is featured in the "Another State Of Mind" documentary when Youth Brigade and Social Distortion get stranded in Washington.
Boston
Many of the first wave of Boston area Hardcore bands where influenced by D.C.'s straight edge scene. Members of seminal bands like
DYS,
Negative FX,
Slapshot,
SS Decontrol, would form a more
militant straight edge crew known as the "Boston Crew". The more militant straight edgers would beat up kids who they saw drinking or doing drugs, bringing violence into the scene. In the late 80s
Elgin James would become involved in the militant faction of Boston straight edge, which would influence him to later help found
Friends Stand United.
While many of the band espoused straight edge values in their music, others embraced traditional themed hardcore and partook in drugs and alcohol.
Gang Green, who were formed in 1980 before the straight edge movement, reacted against the movement by having album covers with their name written in
cocaine as well as ones based on the
Budweiser logo.
[23][24]
In 1982
This Is Boston, Not L.A., a seminal compilation of the Boston scene was released by
Modern Method Records. The album included songs by
The Groinoids,
Decadence,
The Proletariat,
The Freeze,
The F.U.'s,
Jerry's Kids, and Gang Green. In addition to Modern Method, another fan run label, Curtis Casella's
Taang! Records was pivotal in releasing material by bands from this era.
New York
The New York hardcore scene emerged in 1981 when
Bad Brains moved to the city from
Washington, DC.
[25][26] Starting in 1981, there was an influx of new hardcore bands in the city, including:
Heart Attack,
Kraut,
Beastie Boys,
Urban Waste,
Agnostic Front,
Reagan Youth,
No Thanks,
Nihilistics,
The Icemen,
Crumbsuckers,
Murphy's Law,
Cro-Mags, and
Warzone.
New York's hardcore scene was centered around
CBGB, a club that first came to prominence in the mid 70's for booking early New York punk bands like the
Ramones and
Blondie. CBGB owner
Hilly Kristal embraced hardcore punk, and for several years CBGB held weekly hardcore matinees on Sundays. This stopped in 1990 when violence both in and out of the scene led Kristal to refuse to book hardcore shows.
Additionally a number of bands associated with New York City existed in nearby
New Jersey, most famously the
Misfits. Others included
Adrenalin OD,
Mucky Pup, and
The Undead.
Early radio support in New York's surrounding
Tri state area came from Pat Duncan, who hosted live punk and hardcore bands weekly on
WFMU since 1979.
[27] 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.
[28]
Other North American regions
Minneapolis hardcore consisted of bands like
Hüsker Dü and
The Replacements, while
Chicago had
Articles of Faith,
Big Black, and
Naked Raygun. The
Detroit area was home to
Crucifucks,
The Meatmen,
Negative Approach,
Spite and
Violent Apathy.
JFA and
Meat Puppets were both from
Phoenix, Arizona,
7 Seconds from
Reno, Nevada, while
Butthole Surfers,
Big Boys,
The Dicks,
DRI,
Really Red, and
MDC were from
Texas. Hardcore bands in
Washington state included
The Accüsed,
The Fartz,
Melvins, and
10 Minute Warning.
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.
Europe
In the
United Kingdom where the original punk rock scene had flourished, a hardcore scene eventually cropped up. Referred to under a number of names including "U.K. Hardcore", "
UK 82", "second wave punk",
[29] "real punk",
[30] and "No Future punk",
[31] 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.
[32]
Formed in 1977 in
Stoke-on-Trent,
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 associated with.
[33] Another U.K. band,
The Varukers, were one of the original D-beat bands,
[34] and
Sweden in particular produced a number of D-beat bands during this time period including
Anti-Cimex,
Disfear, and
Totalitär.
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, 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".
[35]
Other U.K. hardcore bands from this period included
Broken Bones,
Chaos UK,
Charged GBH,
Dogsflesh,
Disorder,
English Dogs, and
Napalm Death
Late 1980s and 1990s
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,
[36] 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.
[37] 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.
[38] 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.
[39] 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.
[40] Youth crew spread beyond New York to
Southern California bands like
Chain of Strength and
Strife.
Genre heads in two directions
Youth crew, and hardcore in general, branched into two distinct directions. Many newer bands either embraced a traditional style, referred to as
old-school hardcore, or incorporated heavy metal influences with a heavier and more technical style, which eventually developed into the subgenre
metalcore.
[41][42]
New York hardcore bands like
Earth Crisis,
Hatebreed,
108, and
Snapcase featured hoarse vocals; downtuned guitars and thrashy drum rhythms inspired by earlier hardcore bands; and slow,
staccato, low-end musical sections known as
breakdowns. While these bands embraced straight edge or youth crew, there were some prominent metal-based New York hardcore bands from this era who did not. Among them were
Biohazard,
Madball, and
Sick Of It All. As a reaction against this, a new-found interest in old-school hardcore had developed, and the scene experienced a revival of bands adopting the sound influenced more by Gorilla Biscuits and Youth of Today.
[43] Bands that were a prominent part of this movement were Washington D.C.'s
Battery[44] and
Good Clean Fun,
[45] as well as Boston's
Ten Yard Fight.
[46] Around this time, Ray Cappo formed
Better Than A Thousand, which marked his return to the rudimentaries of hardcore.
[47]
2000s
Mainstream
With the increased popularity of punk rock in the mid-1990s and the 2000s, hardcore bands started signed to 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.
[48] Rise Against would gradually diminish hardcore elements from their music, culminating with 2008's
Appeal to Reason, which lacked the intensity found in their earlier albums in favor of a more accessible sound.
[49][50]
United Kingdom band
Gallows were signed to
Warner Bros. Records for £1 million.
[51] 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.
[52] 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.
[53] They appeared in the
Darby Crash biopic What We Do Is Secret, playing the members of Black Flag.
In 2007,
Toronto's
Fucked Up appeared on
MTV Live Canada, where they were introduced as "Effed Up".
[54] During their performance of their song "Baiting The Public", the majority of the audience were
moshing, which caused $2000 in damages to the set.
[55]
Underground
However with the aforementioned exceptions most Hardcore music still exists outside of the mainstream in regional scenes. The Boston scene has continued to produce a number of modern bands like
Death Before Dishonor,
Embrace Today,
Give Up the Ghost,
Have Heart,
The Hope Conspiracy,
No Trigger, and
Reach the Sky. New York has also stayed active with bands like
Awkward Thought,
Full Blown Chaos,
Most Precious Blood, and
This Is Hell.
The East Coast United States hardcore scenes continued to attract attention due to violence, often associated with
Friends Stand United, a militant crew that has been classified as a
gang.
[56] Members of FSU were involved in releasing the "Boston Beatdown" DVDs, which document fights inside and outside of gigs.
[57] FSU was featured in profiles on
National Geographic, the
History Channel's
Gangland series and in a
Rolling Stone article which referred to it as a "Punk Rock Fight Club".
[58]
Influence on other genresAlternative rock
Some hardcore bands began experimenting with other styles as their careers progressed in the 1980s, becoming known as
alternative rock.
[59] 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".
[60]
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.
[61] 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.
[62]
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.
[63]
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.
[64] Other D.C. bands such as
Gray Matter,
Beefeater,
Fire Party,
Dag Nasty, also became connected to this movement.
[65][66] The style was dubbed "emo" or "emo-core".
[67]
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.
[68] This genre developed during the early 1990s, in the
Southern United States (particularly in the
New Orleans metal scene).
[69][70][71] Some of the pioneering bands of sludge metal were:
Eyehategod,
[68] Crowbar,
[72] Down,
[73] Buzzov*en,
[70] Acid Bath[74] and
Corrosion of Conformity.
[71] Later, bands such as
Isis and
Neurosis,
[75] with similar influences, created a style that relies mostly on ambience and atmosphere
[76] that would eventually be named atmospheric sludge metal or
post-metal.
[77]
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.
[78]
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.
[79]
Thrashcore
Often confused with
crossover thrash and sometimes
thrash metal, is Thrashcore.
[80][81] Thrashcore (also known as
fastcore[82]) is a subgenre of hardcore punk that emerged in the early 1980s.
[83] It is essentially sped-up hardcore punk, with bands often using
blast beats.
[82]
Thrashcore spun off into
Powerviolence, another raw and dissonant subgenre of hardcore punk.
[81][84]
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.
[85][86] 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.
[87]
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.
[88]
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 dancingThe 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.
[89][90] These slam dancers included
John Joseph of The
Cro-Mags.
[91]
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.
[92]
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