History of Western subcultures in the 20th-century

The 20th century saw the rise and fall of many subcultures.

Contents
1 1900-World War I 2 World War I 3 1920s and 1930s 4 1940s 5 1950s 6 1960s 7 1970s 8 1980s 9 1990s 10 2000s 11 See also 12 Further reading [edit] 1900-World War I

In the early part of the 20th century, subcultures were mostly informal groupings of like-minded individuals. The Bloomsbury group in London was one example, providing a place where the diverse talents of people like Virginia Woolf, Leonard Woolf, John Maynard Keynes, and E.M. Forster could interact. Other pre-World War I subcultures were smaller social groupings of hobbyists or a matter of style and philosophy amongst artists and bohemian poets. In Germany, from 1896 onward there developed a movement of young men (and later young women) which focused on freedom and natural environments. Called Wandervogel (translated as "hikers", "ramblers" or, more precisely, "migratory birds"), they wanted to throw off the strict rules of society and be more open and natural. The first known organized club for nudists, Freilichtpark (Free-Light Park), was opened near Hamburg, Germany, in 1903. In Italy, a popular art movement and philosophy called Futurism championed change, speed, violence and machines. [edit] World War I After the First World War (191418) hair styles changed: the wartime trenches were infested with lice and fleas, so soldiers were forced to shave their heads. Consequently, men with short hair appeared to have been at the front in the war, while men with longer hair might be thought of as pacifists and cowards, even suspected of

desertion. Some artists managed to avoid the war by sitting it out in neutral Switzerland. A group of artists in Zrich invented Dadaism as an anti-war, anti-art, art movement, and a parody of the proviolent attitudes of Futurism.[citation needed] [edit] 1920s and 1930s See also: Roaring Twenties Jazz music, previously restricted to mainly poor African-Americans, broke out as the musical craze of the 1920s. In the 1920s, American jazz music and motor cars were at the centre of a European subculture which began to break the rules of social etiquette and the class system (See also Swing Kids). In America, the same "flaming youth" subculture was "running wild" but with the added complication of alcohol prohibition. Canada had prohibition in some areas, but for the most part, thirsty Americans coming over the border found an oasis. As a result, smuggling escalated as crime gangs became organized. In the southern United States, Mexico and Cuba were popular with drinkers. Thus, a drinking subculture grew in size and a crime subculture grew along with it. Other drugs were used as alternatives to alcohol. When prohibition ended, the subculture of drink, drugs and jazz did not disappear, and neither did the gangsters. The German nudist movement gained prominence in the 1920s, but was suppressed during the Nazi

Gleichschaltung after Adolf Hitler came to power. Social nudism in the form of private clubs and campgrounds first appeared in the United States in the 1930s. In Canada, it first appeared in British Columbia about 1939 and in Ontario nine years later. In the art world, Surrealism was attempting to shock the world with their games and bizarre behavior. The Surrealists were at one and the same time a serious art movement and a parody of other art forms and political movements. Surrealism had been developed by Andr Breton and others from the Dada movement. Based in several European countries, Surrealism was destined for trouble when the Nazis came to power. Subcultures and "degenerate art" were almost completely stamped out and replaced by the Hitler Youth. In North America, the Great Depression caused widespread unemployment and poverty, and a consequent malaise among adolescents that found its expression in urban youth gangsthe so-called "dead end kids." The dead end kid phenomenon was fictionalized on the stage and screen where it became a popular image with which people could identify. Films featuring the Dead End Kids, East Side Kids, Little Tough Guys etc. were popular from the 1930s to the 1950s. The genre also found its expression in the kid gang comic book stories of Jack Kirby and Joe Simon, including the Boy

Commandos and Newsboy Legion features. The Dust bowl disaster forced large numbers of rural Americans from Oklahoma and elsewhere to move their entire families to survive. They were labeled as "Okies" and treated poorly by the authorities in other states. Their refugee status was recorded in folk songs (including many by Woody Guthrie), as well as John Steinbeck's novel, The Grapes of Wrath, and the film adaptation starring Henry Fonda. [edit] 1940s Avant-garde artists like Max Ernst, Marcel Duchamp and Marc Chagall fled Europe following the outbreak of World War II. These artists arrived in the United States, where a subculture of surrealism and avant-garde experimentation developed in New York City, becoming the new centre of the art world. American fashion remained gangster orientated, with gangs gravitating around immigrant and racial cultures. In California, Hispanic youth developed the distinctive zoot suit fashion, such as the black widows, women who dressed in black. The zoot suiters use of language involved rhyming and pig Latin (also known as backslang). This style, collectively known as Swing or Jive talk (see: Dictionary of Swing), included Afro-American, Cuban, Mexican and South American elements, as

well as bits introduced by Slim Gaillard (see 'McVouty oreeney). The entry of the United States into World War II was heralded by new legislation making zoot suits illegal due to the extra cloth required. In June 1943, white American servicemen stationed in Los Angeles rampaged through Mexican American neighborhoods, attacking young people wearing the suits and often stripping them, in what has become known as the Zoot Suit Riots. The riots in Los Angeles were part of a nationwide phenomenon of urban disturbances arising out of wartime tensions exacerbating longstanding racial discrimination in America. The Zoot Suit Riots were unique in that the fashions of the largely Mexican American (and some white and African American) victims made them the target of white servicemen stationed in the city, many of whom were from southern white towns. In Europe, black-marketeers prospered under rationing. Clothing styles depended on what could be begged or acquired by some means, not necessarily legal; There were restrictions everywhere. When the Americans arrived in Britain, black-marketeers, (called Wide boys or Spivs) made deals with GIs for stockings, chocolate, etc. Inevitably, subculture continued to have an image of criminality and the brave, the daring, the milieu, the resistance, etc. The black market in drugs

thrived just about anywhere. After the second war, the zoot suit craze spread to France in the form of the Zazou youths. Meanwhile, the intellectuals in France were forming an existentialist subculture around Jean Paul Sartre and Albert Camus in Paris cafe culture. In post-war America, folk songs and cowboy songs (also known, in those days, as hillbilly music) were beginning to be more popular with a wider audience. A subculture of rural jazz and blues fans had mixed elements of jazz and blues into traditional cowboy and folk song styles to produce a crossover called western swing. Thanks to the prevalence of radio, this music spread across the United States in the 1940s. Radio was the first almost instantaneous mass media with the power to create large subcultures by spreading the ideas of small subcultures across a wide area. Bebop, a new jazz subculture, formed from the rebellion against the melodic stylings of swing; Notable players included Dizzy Gillespie and Charlie Parker. In turn, bebop spawned the hipster and beat generation subculture. In 1947, Jack Kerouac made an epic journey across America, which he would later describe in his novel, On the Road. In the same year, there was an incident involving a motorcycle gang at Hollister,

California, and Harper's Magazine, published a story about it. In 1948, the Hells Angels formed in Fontana, California. The Hells Angels began as a motorcycle club looking for excitement in the dull times after the end of the war and became notorious as time passed. Motorcycle gangs in general began to hit the headlines. In 1953, the film, The Wild One, was released starring Marlon Brando. [edit] 1950s The Existentialists had a profound influence upon subcultural development. Jean-Paul Sartre and Albert Camus transferred their French resistance underground campaign to the context of a cultural revolution and the American beat scene joined the movement. The emphasis on freedom of the individual influenced the beats in America and Britain and this version of existential bohemianism continued through the 1950s and into the 1960s under the guise of the beat generation. Beards and longer hair returned in another attempt at returning to the image of peacetime man and the normality which had existed before the two wars. At the same time, as a result of American post-war prosperity, a new identity emerged for youth subculture: the teenager. Jazz culture was transformed, by way of Rhythm and Blues into Rock and Roll culture. There are various suggested candidates for which record

might have been the First rock and roll record. At the same time, jazz culture itself continued but changed into a more respected form, no longer necessarily associated with wild behaviour and criminality. From the 1950s onward society noticed an increase in street gang culture, random vandalism and graffiti. Sociologists, psychologists, social workers and judges all had theories as to what was causing the increase to urban trouble but the consensus has generally tended to be that the modern urban environment offers all the bright lights and benefits of the modern world but often provides working class youths with little in reality. This theory and others were parodied in the musical West Side Story (based on Shakespeare's Romeo and Juliet) in song lyrics such as Jet Song, America, and Gee, Officer Krupke. Moral panics surrounding the advent of teenager subcultures and a perceived rise in adolescent criminality led to several attempts to investigate and legislate youth behavior, such as the Senate Subcommittee on Juvenile Delinquency. One of the many subcultures that was based around street violence was the greaser, a working class subculture that was apart of and influenced the biker subculture. As American rock and roll arrived in the United Kingdom, a subculture grew around it. Some of the British post-war street youths hanging around

bombsites in urban areas and getting drawn into petty crime began to dress in a variation of the zoot suit style called a drape suit, with a country style bootlace tie, winklepicker shoes, drainpipe trousers, and Elvis Presley style slicked hair. These youths were called Teddy boys. For a night out dancing at the palais, their girlfriends would usually wear the same sort of poodle skirts and crinolines their counterparts in America would wear. For day-to-day wear there was a trend toward girls wearing slacks or jeans. At the time, the idea of girls wearing trousers and boys taking time over their hairstyle was socially shocking to many people. British youth divided into factions. There were the modern jazz kids, the trad jazz kids, the rock and roll teenagers and the skiffle craze. Coffee bars were a meeting place for all the types of youth and the coolest ones were said to be in Soho, London. In Britain, the political side of the Beat Generation was the anti-nuclear movement led by CND. Ban the Bomb marches became a very successful British social phenomenon. Teenage music and subculture was parodied in the 1957 play (and 1962 movie) The Music Man, particularly in the song "Ya Got Trouble". In the United States and Australia, Hawaiian-

influenced Surfing was the new youth sport. A whole subculture grew around the sport and the associated parties, clothes, speech patterns and music. During the same time-frame skateboard riding developed as a parallel lifestyle to wave riding. Both forms of board riding continued throughout the remainder of the century and into the next. From these two sports young people learned to provide their own social structure within which they could display skills and excellence. In the Congo Free State (now known as the Democratic Republic of the Congo), a youth subculture known as the Bills flourished, taking Western movies and cowboys as their main influence. In the Netherlands, two youth groups evolved in big cities like Amsterdam, Rotterdam and Utrecht. One group, the Nozems, similar to the British Teds, and another called the Artiestelingen, who can be compared to the bohemian artists of pre-world-war France. The Nozems spent their time listening to rock and roll music, driving motorcycles through town and picking up ladies while the Artiestelingen would discuss philosophy, paint, draw and listen to jazz music. [edit] 1960s In the 1960s, the beats (AKA beatniks) grew to be an even larger subculture, spreading around the

world. Other 1960s subcultures included radicals, mods, rockers, bikers, hippies and the freak scene. One of the main transitional features between the beat scene and the hippies was the Merry Pranksters' journey across the United States with Neal Cassady and Ken Kesey, in a psychedelicallypainted school bus named Further. In the USA, the hippies' big year was 1967, the so-called summer of love. The rude boy culture originated in the ghettos of Jamaica, coinciding with the popular rise of rocksteady music, dancehall celebrations and sound system dances. Rude boys dressed in the latest fashions, and many were involved with gangs and violence. This subculture then spread to the United Kingdom and other countries. The mod subculture began with a few cliques of trendy teenage boys in London, England in the late 1950s, but was at its most popular during the early 1960s. Mods were obsessed with new fashions such as slim-cut suits; and music styles such as modern jazz, rhythm and blues, soul, ska, and some beat music. Many of them rode scooters. The mod and rude boy cultures both influenced the skinhead subculture of the late 1960s. The skinheads were a harder, more working class version of mods who wore basic clean-cut clothing styles and favoured ska, rocksteady, soul and early

reggae music. The disco scene originated in the 1960s, with discothques such as the Whiskey A Go Go and Studio 54. Subcultures were often based on socializing and wild behaviour, but some of them were centred around politics. In the United States, these included the Black Panthers and the Yippies. Allen Ginsberg took part in several protest movements, including those for gay rights and those against the Vietnam War and nuclear weapons. In Paris, France in May 1968, there was a university student uprising, supported by Jean Paul Sartre and 121 other intellectuals who signed a statement asserting "the right to disobedience." The uprising brought the country to a standstill, and caused the government to call a general election rather than run the risk of being toppled from power. The Hacker culture was beginning to form in the 1960s, due to the increased usage of computers at colleges and universities. Students who were fascinated by the possible uses of computers and other technologies began figuring out ways to make technology more freely accessible. The international anti-art movement Fluxus also had its beginnings in the 1960s, evolving out of the Beat subculture. [edit] 1970s

Main article: The Seventies In the 1970s, the hippie, mod and rocker subcultures were in a process of transformation, which temporarily took on the name of freaks (openly embracing the image of strangeness). A growing awareness of identity politics combined with the legalisation of homosexuality and a huge amount of interest in science fiction and fantasy forms of speculative writing produced the freak scene. Bands on the freak circuit cultivated an anticapitalist, communal lifestyle. Freak bands like The Edgar Broughton Band or The Pink Fairies played at free festivals, spurning mainstream venues. The music/fashion subculture that became a commercial alternative to the freaks was glam rock. It was a continuation of the trendies of the 1960s mod culture, appealing to the androgynous trend of the 1970s. At some point, some in the hacker/computer subculture took on the derogatory word geek with pride, in the same way the freaks had done. Computer usage was still a very inaccessible secret world to most people in those days, but many people were interested in computers because of their appearance in science fiction. The dream of one day owning a computer was a popular fantasy amongst science fiction fandom, which had grown from a minor subculture in the first half of the 20th century to a quite large

contingent by the 1970s, along with horror fandom, comics fandom and fantasy freaks. The skinhead subculture from the late 1960s continued into the 1970s, and some skinheads became influenced by the punk subculture. These skinheads became associated with the Oi! genre, and some skinheads became involved with far right politics, creating the white power skinhead scene (despite the fact that the original 1960s skinheads were influenced by black culture). Disco, which had begun in gay dance clubs, became a significant from about 1975 onward. In some sectors, particularly in the New York City area, where disco had seemingly "taken over" all aspects of youth life, an aggressive counter-disco movement was born. New York area rock radio stations such as WPLJ and WPIX encouraged their listeners to destroy disco records and embrace rock and roll. Musically and lyrically, punk rock was the intentional antithesis of the disco scene, the progressive rock genre and the hippie subculture. Early punks played aggressive, quickpaced three-chord rock and roll songs. As punk was rising to prominence, some of the progressive rock elements took it as a challenge to live faster, harder and tougher than punk. They kept the long hair of the freak scene, adopted the black leather jacket as virtually a uniform, and took

on the name heavy metal (which is a phrase from the writings of William S. Burroughs[citation needed]). In 1976, a hit song "Convoy" by C.W. McCall arrived in the pop charts and romanticised the Trucker and CB radio subculture. In 1978, the song inspired a film "Convoy" directed by Sam Peckinpah, and starring Kris Kristofferson, Ali MacGraw, Ernest Borgnine, and Burt Young. The word "convoy" and quotes from the song lyrics became part of a popular cultural image of people standing up for their freedom. Gradually, from the 1960s, 1970s and through into the 1980s, the cultural influences of the Merry Pranksters, the freak scene, the New Age movement and the Convoy idea seem to have coalesced into what became New age travellers. Beginning around 1976, the anarcho-punk scene in the UK developed the band Crass and related bands, including The Poison Girls. The Crass Records label was an independent operation, enabling bands with an extremely raw sound to put out records when the major labels might not have bothered with them. Crass also organised gigs around the country for themselves and other bands, and campaigned politically for the antinuclear movement other causes. Mods made a comeback in the late 1970s as a post-

punk mod revival, inspired by The Jam and the British film Quadrophenia. In 1979, Usenet was created as a medium of communication over the, still very primitive, Internet of the time. The Usenet and the Bulletin board system (BBS) subculture would become increasingly significant over the next few decades. Also in 1979, Papa Wemba, a Rumba star in Zaire/Democratic Republic of the Congo, Africa began to be the leader of the Sapeur ('Socit des Ambianceurs et des Personnes d'lgance' thus 'SAPE' for short), which he promoted as a youth cult. Papa Wemba's music has been influenced by previous stars of Rumba music in Zaire (such as Papa Wendo) and also by his visits to Europe and by the appearance, in 1974, of James Brown at the Rumble in the Jungle. Wemba said: The Sapeur cult promoted high standards of personal cleanliness, hygiene and smart dress, to a whole generation of youth across Zaire. When I say well groomed, well shaven, well perfumed, it's a propriety that I am insisting on among the young. I don't care about their education, since education always comes first of all from the family. [edit] 1980s At the beginning of the 1980s, some of the

followers of punk rock became bored[original research?] with it and wanted to make it more stylish and introduce elements of glam. By 1981, this trend resulted in the development of the New Romantics, a group whose preferred music was synthesiser electro-pop. New Romantics tended to be slightly campy and fey, and there was a bisexual vibe to the subculture generally,[citation needed] regardless of the individual's sexual orientation. Clothing styles demonstrated a return to the freak scene's roleplay of fashions from previous eras or imagined future ones in order to use fashion to create a time warp.[citation needed] According to the music press at the time,[not specific enough to verify] the New Romantics identified themselves using a number of alternative terms including "Futurists" and "the cult with no name." Other punk rock followers took the genre and culture further underground, where it evolved into a faster, harder genre coined as hardcore punk. Along with the hardcore scene came the straight edge subculture. Straight edge is a lifestyle that advocates abstinence in relation to tobacco, alcohol and recreational drug use (especially psychoactive and stimulant drug use), and for some people, in relation to promiscuous sexual behavior. Other former punks searching for a new direction

around 1979 eventually developed into the nucleus of what became the goth subculture. The goths are a subculture of dark dress and gloomy romanticism. Unlike the New Romantics, goth has lasted into the 21st century. In the UK, goth reached its popular peak in the late 1980s. In American urban environments, a form of street culture using freeform and semi-staccato poetry, combined with athletic break dancing, was developing as the Hip hop and Rap subculture. In jazz jargon, the word rap had always meant speech and conversation. The new meaning signified a change in the status of poetry from an elitist artform to a community sport. Rappers could attempt to outdo each other with their skillful rhymes. Rapping is also known as MCing, which is one of the four main elements of Hip hop:[citation needed] MCing, DJing, graffiti art, and breakdancing. From the early to mid 1980s, poetry culture in a broader sense caught the same kind of energy as rap and so began the first of the poetry slams. Poetry slamming became an irregular focus for the latest wave of poetry aficionados. In 1985, Stonehenge Free Festival was disrupted by a massive police presence attempting to prevent the festival and break up the Peace Convoy. The resulting Battle of the Beanfield was the largest mass civil arrest in English history.

Free parties and raves began from the mid-80s and became a flourishing subculture. The music embraced by this subculture was electronic dance music which developed from Techno, pioneered in Detroit and Chicago by people like Juan Atkins, Derrick May, and Kevin Saunderson, as well as electronic music, pioneered by Karlheinz Stockhausen, John Cage and others, taken by way of progressive rock bands like Hawkwind, filtered through the sounds of dub-reggae and the electropop bands like Kraftwerk and Depeche Mode and given a different twist via Art of Noise and early hip hop and recycled psychedelia.[citation needed] Towards the end of the 80s rave culture had diversified into different forms connected to music such as Acid House and Acid Jazz and would continue to diversify into the 90s. Rave culture thrived from the mid-80s to the end of the century and beyond. The Usenet and BBS subculture had developed an element called Slashdot subculture which involved its own forms of etiquette and behaviour patterns both social and anti-social and the phenomena of trolling, spamming, flaming etc. The computer subculture was also influenced by fictional subcultures in cyberpunk literature. 1990s

The term Generation X or Gen X, popularized by Douglas Coupland's novel Generation X: Tales for an Accelerated Culture, was used to describe the generation that followed the Baby Boom Generation, or those who came to adulthood in the late 1980s and early 1990s. In the UK, the Britpop scene arose in the 1990s, influenced by the 1960s mods, the 1970s/1980s mod revival, and other British rock music and subcultural styles. One of the main technological developments of the 1990s was the World Wide Web. Running on the older infrastructure of the Internet, the web allowed small subcultures to grow into large global online communities. Online game communities, forums, chat rooms and Internet cafes became popular. The 1990s saw the rise of the anti-globalization movement. This was a response to the increased impact of globalisation and global capitalism. The anti-globalisation protest movement was accompanied by the fair trade movement. 2000s Named in relation to Generation X, Generation Y or "Echo Boomers" (a reference to the fact that many of the parents of this generation had belonged to the Baby boomer generation) consisted of individuals that had come to adulthood during the 2000s.

[edit] See also History of sexuality Music history Post-industrial society Sexuality and gender identity-based cultures Subculture & List of subcultures

[edit] Further reading This is the Beat Generation by James Campbell We are the people our parents warned us against by Nicholas Von Hoffman Hell's Angels: A Strange and Terrible Saga by Hunter S. Thompson The Electric Kool Aid Acid Test by Tom Wolfe Mod: A Very British Phenomenon, Rawlings, Terry (2000). London: Omnibus Press. ISBN 07119-6813-6. Mods!, Barnes, Richard (1979). London: Eel Pie Publishing Ltd. ISBN 0-85965-173-8. Spirit of '69 - A Skinhead Bible, Marshall, George (1991). Dunoon, Scotland: S.T. Publishing. ISBN 1898927-10-3. Cante, Richard C. (March 2009). Gay Men and the Forms of Contemporary US Culture. London: Ashgate Publishing. ISBN 0 7546 7230 1.

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Punk subculture From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2007) The punk subculture includes a diverse array of ideologies, and forms of expression, including fashion, visual art, dance, literature, and film, which grew out of punk rock. Contents [hide] 1 History 2 Music 3 Ideologies

4 Fashion 5 Visual art 6 Dance 7 Literature 8 Film 9 Lifestyle and community 9.1 Authenticity 10 Interactions with other subcultures 11 See also 12 Footnotes 13 Bibliography [edit] History Main article: History of the punk subculture The punk subculture emerged in the United Kingdom, the United States, and Australia in the mid-1970s. Exactly which region originated punk has long been a major controversy within the movement.[1][2][3][4][5][6] Two UK punks in a train carriage in 1986; note the hand-stencilled Crass symbol painted on the coat of on the man on the right Early punk had an abundance of antecedents and influences, and Jon Savage has described the subculture as a "bricolage" of almost every previous youth culture that existed in the West since the Second World War "stuck together with safety pins".[7] Various philosophical, political, and artistic movements influenced the subculture.

In particular, punk drew inspiration from several strains of modern art. Various writers, books, and literary movements were important to the formation of the punk aesthetic. Punk rock has a variety of musical origins, both within the rock and roll genre and beyond. The earliest form of punk rock, named protopunk in retrospect, started as a garage rock revival in the northeastern United States in the late 1960s.[8] The first ongoing music scene that was assigned the punk label appeared in New York City between 1974 and 1976.[9] At about the same time or shortly afterward, a punk scene developed in London.[10] Soon after, Los Angeles became home to the third major punk scene.[11] These three cities formed the backbone of the burgeoning movement, but there were also other scenes in a number of cities such as Brisbane and Boston. Around 1977, the subculture began to diversify with the proliferation of factions such as 2 Tone, Oi!, pop punk, New Wave, and No Wave. In the United States during the early 1980s, punk underwent a renaissance in the form of hardcore punk, which sought to do away with the frivolities introduced in the later years of the original movement, while at the same time Britain saw a parallel movement called streetpunk.[12] Hardcore and streetpunk then spread to other regions just as the original subculture had. In the mid-1980s to the

early 1990s in America, various underground scenes either directly evolved from punk or at least applied its attitudes to new styles, in the process producing the alternative rock and indie music scenes.[12] A new movement in the United States became visible in the early and mid-1990s that sought to revive the punk movement, doing away with some of the trappings of hardcore. [edit] Music Main article: Punk rock The punk subculture is centered around listening to recordings or live concerts of a loud, aggressive genre of rock music called punk rock, usually shortened to punk. While most punk rock uses the distorted guitars and noisy drumming that is derived from 1960s garage rock and 1970s pub rock, some punk bands incorporate elements from other subgenres, such as metal (e.g., mid-1980sera Discharge) or folk rock (Billy Bragg). Different punk subcultures often distinguish themselves by having a unique style of punk rock, although not every style of punk rock has its own associated subculture. Most punk rock songs are short, have simple and somewhat basic arrangements using relatively few chords, and they use lyrics that express punk values and ideologies ranging from the nihilism of the Sex Pistols' "No Future" to the anti-drug message of Minor Threat's "Straight Edge". Punk rock is usually played in small bands rather than by solo artists. Punk bands usually

consist of a vocalist, one or two overdriven electric guitars, an electric bass player, and a drummer (the vocalist may be one of the musicians). In some bands, the band members may do backup vocals, but these typically consist of shouted slogans, choruses, or football/soccer-style chants, rather than the arranged harmony vocals of pop bands. [edit] Ideologies A German punk faces a line of riot police at a 1984 protest. Main article: Punk ideologies Although punks are frequently categorized as having left-wing or progressive views, punk politics cover the entire political spectrum. Punkrelated ideologies are mostly concerned with individual freedom and anti-establishment views. Common punk viewpoints include antiauthoritarianism, a DIY ethic, non-conformity, direct action and not selling out. Other notable trends in punk politics include nihilism, anarchism, socialism, anti-militarism, anti-capitalism, antiracism, anti-sexism, anti-nationalism, antihomophobia, environmentalism, vegetarianism, veganism and animal rights. However, some individuals within the punk subculture hold rightwing views (such as those associated with the Conservative Punk website), neo-Nazi views (Nazi punk), or are apolitical (e.g.horror punk). Early British punks expressed nihilistic views with

the slogan No Future, which came from the Sex Pistols song "God Save the Queen". In the United States, punks had a different approach to nihilism based on their "unconcern for the present" and their "disaffection from both middle and working class standards".[citation needed] Punk nihilism was expressed in the use of "harder, more selfdestructive, consciousness-obliterating substances like heroin, or ... methamphetamine"[13] [edit] Fashion Main article: Punk fashion Question book-new.svg This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009) Punks seek to outrage others with the highly theatrical use of clothing, hairstyles, cosmetics, tattoos, jewelry and body modification. Early punk fashion adapted everyday objects for aesthetic effect: ripped clothing was held together by safety pins or wrapped with tape; ordinary clothing was customized by embellishing it with marker or adorning it with paint; a black bin liner became a dress, shirt or skirt; safety pins and razor blades were used as jewelry. Also popular have been leather, rubber, and vinyl clothing that the general public associates with transgressive sexual

practices like bondage and S&M. Punk fashion in the early 1980s Some punks wear tight "drainpipe" jeans, plaid/tartan trousers, kilts or skirts, T-shirts, leather jackets (which are often decorated with painted band logos, pins and buttons, and metal studs or spikes), and footwear such as Converse sneakers, skate shoes, brothel creepers, or Dr. Martens boots. Some early punks occasionally wore clothes displaying a Nazi swastika for shockvalue, but most contemporary punks are staunchly anti-racist and are more likely to wear a crossedout swastika symbol. Some punks cut their hair into Mohawks or other dramatic shapes, style it to stand in spikes, and color it with vibrant, unnatural hues. Some punks are anti-fashion, arguing that punk should be defined by music or ideology. This is most common in the post-1980s US hardcore punk scene, where members of the subculture often dressed in plain T-shirts and jeans, rather than the more elaborate outfits and spiked, dyed hair of their British counterparts. [edit] Visual art Main article: Punk visual art Punk aesthetics determine the type of art punks enjoy, usually with underground, minimalistic, iconoclastic and satirical sensibilities. Punk

artwork graces album covers, flyers for concerts, and punk zines. Usually straightforward with clear messages, punk art is often concerned with political issues such as social injustice and economic disparity. The use of images of suffering to shock and create feelings of empathy in the viewer is common. Alternatively, punk artwork may contain images of selfishness, stupidity, or apathy to provoke contempt in the viewer. Much of the earlier artwork was in black and white, because it was distributed in zines reproduced at copy shops. Punk art also uses the mass production aesthetic of Andy Warhol's Factory studio. Punk played a hand in the revival of stencil art, spearheaded by Crass. The Situationists also influenced the look of punk art, particularity that of the Sex Pistols. Punk art often utilizes collage, exemplified by the art of Dead Kennedys, Crass, Jamie Reid, and Winston Smith. John Holmstrom was a punk cartoonist who created work for the Ramones and Punk Magazine. The Stuckism art movement had its origin in punk, and titled its first major show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial. Charles Thomson, co-founder of the group, described punk as "a major breakthrough" in his art.[14] [edit] Dance Two dance styles associated with punk are pogo dancing and moshing.[15] Stage diving and crowd surfing were originally associated with protopunk

bands such as The Stooges, and have appeared at punk, metal and rock concerts. Ska punk promoted an updated version of skanking. Hardcore dancing is a later development influenced by all of the above mentioned styles. Psychobillies prefer to "wreck", a form of slam dancing that involves people punching each other in the chest and arms as they move around the circle pit. [edit] Literature A selection of British and American punk zines, 19942004 Main article: Punk literature Punk has generated a considerable amount of poetry and prose. Punk has its own underground press in the form of punk zines, which feature news, gossip, cultural criticism, and interviews. Some zines take the form of perzines. Important punk zines include Maximum RocknRoll, Punk Planet, Cometbus, Flipside,and Search & Destroy . Several novels, biographies, autobiographies, and comic books have been written about punk. Love and Rockets is a notable comic with a plot involving the Los Angeles punk scene. Examples of punk poets include: Richard Hell, Jim Carroll, Patti Smith, John Cooper Clarke, Seething Wells, Raegan Butcher, and Attila the Stockbroker. The Medway Poets performance group included punk musician Billy Childish and had an influence on Tracey Emin. Jim Carroll's autobiographical

works are among the first known examples of punk literature. The punk subculture has inspired the cyberpunk and steampunk literature genres. [edit] Film Main article: Punk film Many punk-themed films have been made, and punk rock music videos and punk skate videos are common. Punk films often intercut stock footage with news clips and home videos of band concerts. Several famous groups have participated in movies, such as the Ramones in Rock 'n' Roll High School, the Sex Pistols in The Great Rock 'n' Roll Swindle, and Social Distortion in Another State of Mind. Some well-known punks have had biographical films made about them, such as Sid and Nancy, which tells the story of the Sex Pistols' bassist Sid Vicious (portrayed by Gary Oldman) and Nancy Spungen (portrayed by Chloe Webb). [citation needed] Original footage of punk bands is also often used in music documentaries. The seminal punk documentary is The Filth and the Fury, detailing the rise of the Sex Pistols. In addition to the members of that band and its affiliates (Malcolm McLaren, Vivienne Westwood, Nancy Spungen, etc.) it also features archival footage of Billy Idol, Sting, Shane McGowan, and a young teenaged girl who would grow up to be Siouxsie Sioux, among others. One of the highlights of the movie is

footage of the Sex Pistols playing "God Save the Queen" on a barge in the middle of the Thames during the Silver Jubilee of Elizabeth II, and their subsequent arrest.[citation needed] The No Wave Cinema and Remodernist film movements owe much to punk aesthetics. Derek Jarman and Don Letts are notable punk filmmakers. Many other films are associated with punk, such as 24 Hour Party People, which presents the evolution of punk rock into New Wave and Madchester, and Threat, which focuses on militant Straight edge punks in the New York hardcore scene. [edit] Lifestyle and community Punks can come from any and all walks of life and economic classes. Compared to some alternative cultures, punk is much closer to being gender equalist in terms of its ideology.[16] Although the punk subculture is mostly anti-racist, it is vastly white (at least in predominantly-white countries). However, members of other groups (such as Blacks, Latinos, and Asians) have also contributed to the development of the subculture.[citation needed] Substance abuse has sometimes been a part of the punk scene, with the notable exception of the straight edge movement. Violence has also sometimes appeared in the punk subculture, but has been opposed by some subsets of the subculture, such as the pacifist strain of anarcho-

punk.[17] Punks often form a local scene, which can have as few as half a dozen members in a small town, or as many as thousands of members in a major city.[18] A local scene usually has a small group of dedicated punks surrounded by a more casual periphery. A typical punk scene is made up of punk and hardcore bands; fans who attend concerts, protests, and other events; zine publishers, band reviewers, and writers; visual artists who create illustrations for zines, posters, and album covers; people who organize concerts, and people who work at music venues or independent record labels.[18] Squatting plays a role in some punk communities, providing shelter and other forms of support. Illegal squats in abandoned or condemned housing and communal "punk houses" sometimes provide bands a place to stay while they are touring. There are some punk communes, such as the Dial House. The Internet has been playing an increasingly larger role in punk, specifically in the form of virtual communities and file sharing programs for trading music files.[19] A band plays on the tiny stage at the Berkeley, California punk venue at 924 Gilman Street. The graffiti-covered backstage area at the Gilman Street venue. [edit] Authenticity

In the punk and hardcore subcultures, members of the scene are often evaluated in terms of the authenticity of their commitment to the values or philosophies of the scene, which may range from political beliefs to lifestyle practices. In the punk subculture, the epithet poseur (or "poser") is used to describe "a person who habitually pretends to be something he is not." The term is used to refer to a person who adopts the dress, speech, and/or mannerisms of a punk or hardcore subculture, generally for attaining acceptability within the group, yet who is deemed to not share or understand the values or philosophy of the subculture.[20] While this perceived inauthenticity is viewed with scorn and contempt by members of the subculture, the definition of the term and to whom it should be applied is subjective. Music journalist Dave Rimmer argues that the "first punk kids in London envisioned waging a revolution against the corruption that had undeniably crept into a becalmed and boring rock scene." He notes that the "terms in which they expressed their disdain for hangers-on and those whose post-hip credentials didnt quite make it came straight out of the authenticity movements: "Poseurs" was the favorite epithet."[21] Ross Buncle argues that the late-1970s punk scene in Perth, Australia "opened the door to a host of poseurs, who were less interested in the music than in UK-punk fancy dress and being seen to be

hip."[22] An article in Drowned in Sound argues that 1980s-era "hardcore is the true spirit of punk", because "after all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics", the punk scene consisted only of people "completely dedicated to the DIY ethics".[23] The term poseur was used in several punk songs, including "Part-Time Punks" by Television Personalities, "I am a Poseur" by X-Ray Spex, "Poseur Punk" by MDC and "Decom-poseur" by NOFX. [edit] Interactions with other subcultures Glam rockers such as New York Dolls and David Bowie had big influences on protopunk, early punk rock and glam punk. Punk and hip hop emerged around the same time in the late 1970s New York City, and there has been some interaction between the two subcultures. Some of the first hip hop MCs called themselves punk rockers, and some punk fashions have found their way into hip hop dress. Malcolm McLaren played roles in introducing both punk and hip hop to the United Kingdom. Hip hop later influenced some punk and hardcore bands, such as Hed PE, Blaggers I.T.A., Biohazard, E.Town Concrete, The Transplants and Refused. [24] The skinhead subculture of the late 1960s which

had almost disappeared in the early 1970s was revived in the late 1970s, partly because of the influence of punk rock, especially the Oi! punk subgenre. Conversely, ska and reggae, popular among traditionalist skinheads, has influenced several punk musicians. Punks and skinheads have had both antagonistic and friendly relationships, depending on the social circumstances, time period and geographic location.[25] The punk and heavy metal subcultures have shared some similarities since punk's inception. The early 1970s heavy metal scene had an influence on the development of protopunk. Alice Cooper was a forerunner of the fashion and music of both the punk and metal subcultures. Motrhead, since their first album release in 1977, have had continued popularity in the punk scene, and singer Lemmy is a fan of punk rock. Genres such as metalcore, grindcore and crossover thrash were greatly influenced by punk and heavy metal. The New Wave of British Heavy Metal influenced the UK 82 style of bands like Discharge, and hardcore punk was a primary influence on thrash metal bands such as Metallica and Slayer. The early 1990s grunge subculture was a fusion of punk anti-fashion ideals and metal-influenced guitar sounds. However, hardcore punk and grunge developed in part as reactions against the heavy metal music that was popular during the

1980s.[26] In punk's heyday, punks faced harassment and attacks from the general public and from members of other subcultures. In the 1980s in the UK, punks were sometimes involved in brawls with Teddy Boys, greasers, bikers, mods and members of other subcultures. There was also considerable enmity between positive punks (known today as goths) and the glamorously dressed New Romantics. In the late 1970s, punks were known to have had confrontations with hippies due to the contrasting ideologies and backlash of the hippie culture. Nevertheless Penny Rimbaud of the English anarcho-punk band Crass said in interviews, and in an essay called The Last Of The Hippies, that Crass was formed in memory of his friend, Wally Hope.[27] Rimbaud also said that Crass were heavily involved with the hippie movement throughout the 1960s and Seventies, with Dial House being established in 1967. Many punks were often critical of Crass for their involvement in the hippie movement. Like Crass, Jello Biafra was influenced by the hippie movement and cited the yippies as a key influence on his political activism and thinking, though he did write songs critical of hippies.[17][28] The industrial and rivethead subcultures have had

several ties to punk, in terms of music, fashion and attitude. [edit] See also Punk fashion Punk rock History of subcultures in the 20th century List of punk bands Punk rock subgenres Art punk Timeline of punk rock [edit] Footnotes ^ Marsh, Dave (May 1971). "Will Success Spoil The Fruit?". Creem magazine. Retrieved 19 November 2006. ^ Moore, Thurston (1996). "Grabbing Ankles". Bomb Magazine. Retrieved 19 November 2006. ^ Robb, John (2005-11-05). "The birth of punk". London: The Independent (UK). Retrieved 2006-1217. ^ Savage, Jon. England's Dreaming: The Sex Pistols and Punk Rock. Faber and Faber, 1991. ISBN 0-312-28822-0[page needed] ^ Australian Broadcasting Corporation (2 October 2003). "Misfits and Malcontents". abc.net.au. Retrieved 1 November 2006. ^ Dougan, John. "The Saints: Biography". billboard.com. Retrieved 1 November 2006. ^ Savage, Jon. Teenage: The Creation of Youth

Culture. P. xvi. 2007. Viking. England. ^ "Protopunk" from Allmusic.com ^ Harrington, Joe S. Sonic Cool: The Life & Death of Rock 'N' Roll. pp. 324-30. 2002. HalLeonard. USA. ^ Harrington, Joe S. Sonic Cool: The Life & Death of Rock 'N' Roll. pp. 344-50. 2002. HalLeonard. USA. ^ Allmusic, Punk. Retrieved 18 April 2009. ^ a b Allmusic, [1]. Retrieved 18 April 2009. ^ "The Situationist International Text Library/Consumer Society and Authenticity". Library.nothingness.org. 1995-10-03. Retrieved 2010-02-12. ^ "Modern Art Blog Blog Archive Interview with Charles Thomson of the Stuckists". Artistica. 2006-01-29. Retrieved 2010-02-12. ^ "A Metaphysics of the Mosh Pit". PopMatters. Retrieved 2010-02-12. ^ Lee, Michelle (Nov/Dec 2002). "Oh bondage up yours! The early punk movement--and the women who made it rock". Off Our Backs. Retrieved 27 December 2006.[dead link] ^ a b LastName, FirstName (1999). Punk rock, so what? : the cultural legacy of punk. London New York: Routledge. ISBN 9780415170307. ^ a b Grossman, Perry (2002). "Punk". St. James Encyclopaedia of Popular Culture. Retrieved 27 December 2006. ^ Hara, Craig (1999). The philosophy of punk : more than noise. Edinburgh: AK. ISBN

9781873176160. ^ O'Hara, Craig (1999). The Philosophy of Punk. San Francisco: AK Press. ISBN 9781873176160. [page needed] ^ Marsh, Dave (June 1995). "LIVE THROUGH THIS....". Rock & Rap Archives. ^ "The Orphans Story". Perthpunk.com. 1978-0815. Retrieved 2010-02-12. ^ Symonds, Rene (2007-08-16). "Features - Soul Brothers: DiS meets Bad Brains". Drowned in Sound. Retrieved 2010-02-12. ^ Cogan, Brian (2006). Encyclopedia of punk music and culture. Westport, Conn: Greenwood Press. ISBN 9780313333408. ^ Moore, Jack (1993). Skinheads shaved for battle : a cultural history of American skinheads. Bowling Green, OH: Bowling Green State University Popular Press. ISBN 0879725834. ^ Waksman, Steve Waksman (February 2009). This Aint the Summer of Love. ISBN 9780520257177. ^ Rimbaud, Penny (1982). The Last Of The Hippies - An Hysterical Romance. Crass. ^ "Hippie Information". Retrieved 8 December 2011. [edit] Bibliography Willoughby Sharp Joseph Nechvatal, (1984) Machine Language Books, NY NY Alan Moore and Marc Miller, eds., ABC No Rio

Dinero: The Story of a Lower East Side Art Gallery (1985) (Colab, i.e. Collaborative Projects, NY, NY) Hans Versluys, London's Burning: An exploration in punk subculture (Universiteit Antwerpen, Belgium, 1980) Translated 2011, published by CreateSpace

-------------------------------------------------------------------------------Generation X From Wikipedia, the free encyclopedia For other uses, see Generation X (disambiguation). Generation X, commonly abbreviated to Gen X, is the generation born after the Western postWorld War II baby boom ended.[1] While there is no universally agreed upon time frame,[2] the term generally includes people born from the early 1960s through the early 1980s, usually no later than 1981 or 1982.[3][4][5][6][7] The term had also been used in different times and places for various subcultures or countercultures since the 1950s.[8] Contents [hide] 1 Origin 2 Date range

3 "13th Generation" 4 United States 5 United Kingdom 6 Canada 7 Australia and New Zealand 8 See also 9 Notes 10 External links [edit] Origin The term Generation X was coined by the Magnum photographer Robert Capa in the early 1950s. He would use it later as a title for a photo-essay about young men and women growing up immediately after the Second World War. The project first appeared in "Picture Post" (UK) and "Holiday" (US) in 1953. Describing his intention, Capa said 'We named this unknown generation, The Generation X, and even in our first enthusiasm we realised that we had something far bigger than our talents and pockets could cope with'.[9] Author John Ulrich explains that, "Since then, "Generation X" has always signified a group of young people, seemingly without identity, who face an uncertain, ill-defined (and perhaps hostile) future. Subsequent appearances of the term in the mid1960s and mid-1970s narrowed the referent for "Generation X" from Capa's global generation to specific sets of primarily white, male, working class British youth sub-cultures, from the spiffy

mods and their rivals the rockers, to the more overtly negationist punk subculture."[8] The term was used in a 1964 study of British youth by Jane Deverson. Deverson was asked by Woman's Own magazine to interview teenagers of the time. The study revealed a generation of teenagers who "sleep together before they are married, were not taught to believe in God as 'much', dislike the Queen, and don't respect parents." Because of these controversial findings, the piece was deemed unsuitable for the magazine. Deverson, in an attempt to save her research, worked with Hollywood correspondent Charles Hamblett to create a book about the study. Hamblett decided to name it Generation X.[10] The term was popularized by Canadian author Douglas Coupland's 1991 novel, Generation X: Tales for an Accelerated Culture, concerning young adults during the late 1980s and their lifestyles. While Coupland's book helped to popularize the phrase "Generation X," in a 1989 magazine article[11] he erroneously attributed the term to English musician Billy Idol. In fact, Idol had been a member of the punk band Generation X from 19761981, which was named after Deverson and Hamblett's 1965 sociology booka copy of which was owned by Idol's mother.[12] In the US Generation X was originally referred to as

the "baby bust" generation because of the drop in the birth rate following the baby boom.[2] [edit] Date range The exact date range that constitutes Generation X is the subject of diverging opinions. Part of the variance comes from slightly differing definitions of what exactly Generation X is. Geography can also influence date ranges. Another problem stems from the difficulty in exactly defining a generation by birth year, as Fran Kick explains, "please understand that there are no hard and fast lines that occur between December 31st of one year and January 1st of the next. More often than not, it's a shift that occurs over three to five years, maybe more depending on who you ask."[13] Some sources cite a start in the mid 1960s.[14][15] Some cite an end date before the end of the 1970s. Others cite an end in the early 1980s; the birth years of 1981 and 1982.[16][17][18] are cited as common end dates, with either depending on geographics, researcher, or the determination of what year the first millennial generation officially left grade school.[6] [edit] "13th Generation" In the 1991 book Generations, William Strauss and Neil Howe call this generation the "13th Generation" and define the birth years as 1961 to 1981. 1970, the approximate mid-point of the "13th Generation", had the lowest birth rate of this

period. According to the authors, Generation X is "the 13th generation" to be familiar with the flag of the United States (counting back to the peers of Benjamin Franklin).[3] The label was also chosen because, according to their generational theory, it is considered a "Reactive" or "Nomad" generation, composed of those who were children during a spiritual awakening. Older generations generally have negative perceptions of Reactive generationswhose members tend to be pragmatic and perceptive, savvy but amoral, more focused on money than on art[19] -- and the use of 13 is also intended to associate this perception with the negative connotations of that number. The authors highlight this negative perception by noting the popularity of "devil-child" movies, wherein children are portrayed as malevolent protagonists (e.g. Rosemary's Baby[20]), released soon after the generation's first members were born.[21] [edit] United States Those associated with Generation X have cultural perspectives and political experiences that were shaped by series of events. This includes the end of the Cold War, the fall of the Berlin Wall, Vietnam,

the late-60's space race, the 1973 oil crisis, the 1979 energy crisis, the early 1980s recession, the Chernobyl disaster, Black Monday and the savings and loan crisis, both of which preceded the early 1990s recession.[22] Generation X saw the introduction of the home computer, the beginning growth of video game era, cable television and the Internet. Other attributions include the U.S. urban decay, the AIDS epidemic, the War on Drugs, the Space Shuttle Challenger disaster, the Iran hostage crisis, Iran-Contra Affair, Operation Desert Storm, the Dot-com bubble, alternative rock, and the global influence of the hip hop culture and music genre.[23] They are often called the MTV Generation.[24] Pertinent to a non-partisan study on the 2008 U.S. Presidential election, the Population Reference Bureau, a demographic research organization based in Washington, D.C., cited Generation X birth years as falling between 1965-1982.[25] In American cinema, directors Kevin Smith,[26] Richard Linklater[27] and Todd Solondz[28] have been called Generation X filmmakers. Smith is most known for his View Askewniverse films, the flagship film being Clerks, which focused on a pair of bored, twenty-something convenience store clerks in New Jersey circa 1994; Linklater's Slacker similarly explored young adult characters who were more interested in philosophizing than settling with a long-term career and family;

Solondz' Welcome To The Dollhouse touched upon themes of school bullying, school violence, teen drug use, peer pressure and broken or dysfunctional families, mostly set in a junior high school environment during the early to mid-1990s. When compared with previous generations, Generation X represents a more heterogeneous generation, exhibiting great variety of diversity in such aspects as race, class, religion, ethnicity, and sexual orientation.[24] Often the children of divorced parents as the period covers the beginning of the divorce rate growth.[29] Change is more the rule for the people of Generation X than the exception.[citation needed] Unlike their parents who challenged leaders with an intent to replace them, Generation X tend to ignore leaders.[30] The US Census Bureau cites Generation X as statistically holding the highest education levels when looking at age group (bloc): US Census Bureau, in their 2009 Statistical Abstract. (Also see Education Statistics Canada, 2001 Census.) In economics, a study (done by Pew Charitable Trusts, the American Enterprise Institute, the Brookings Institute, the Heritage Foundation and the Urban Institute) challenged the notion that each generation will be better off than the one that

preceded it.[31] The study, 'Economic Mobility: Is the American Dream Alive and Well?" focuses on the income of males 30-39 in 2004 (those born April, 1964 March, 1974) and is based on Census/BLS CPS March supplement data.[32] The study, which was released on May 25, 2007, emphasized that in real dollars, this generation's men made less (by 12%) than their fathers had at that same age in 1974, thus reversing a historical trend. The study also suggests that per year increases in the portion of father/son family household income generated by fathers/sons have slowed (from an average of 0.9% to 0.3%), barely keeping pace with inflation, though increases in overall father/son family household income are progressively higher each year because more women are entering the workplace, contributing to family household income.[33] The 2011 publication "The Generation X Report" based on annual surveys used in the Longitudinal Study of American Youth, finds that the generation is educated, active, balanced, happy and familyoriented. The study dispels the slacker, disenfranchised stereotype often associated with Generation X defined in the report as those born from 1961 to 1981. Various questions and responses from approximately 4,000 people who were surveyed each year from 1987 through 2010 make up the study.[34] [edit] United Kingdom

During the 1980s and 1990s, in which Generation X individuals would have been either teenagers or young adults, the United Kingdom was politically marked by conservative Thatcher-era government (in tandem with the U.S. Reagan-Bush administrations) followed by the more centrist tenures of John Major (19901997) and Tony Blair (19972007), both of which coincided with the U.S. Clinton Administration of the 1990s. Important news topics at that time included the Northern Ireland Peace Process, the Death of Diana, Princess of Wales (1997), and discussion over an ultimately failed currency switch from pounds sterling to the Euro (1999). London newspaper The Guardian cited Generation X birth years as falling between 1965 and 1982 and referred to it as the "'me generation' of the Eighties."[35] The Telegraph cited Generation X birth dates as falling into a longer time span (1965 1985),[36] whilst the The Independent estimated an earlier range of birth dates (19631978) compared to other writers or researchers.[37] A BBC News article about a lack of "mid-career volunteers" in their 20s provided a Generation X age range, which, in 2007, would suggest birth years that fall between 1962 and 1982.[38] [edit] Canada One Canadian author, economist and demographer

David Foot, divides the generation born after the baby boomers into two groups in his book Boom Bust & Echo: How to Profit from the Coming Demographic Shift.[39]: Generation X, born between 1960 and 1966; and the "Bust Generation", born between 1967 and 1979.[40] Those born between the periods of 1947-1966 were the Baby Boomers, where in Canada they were the largest boom of the industrialized world (relative to population).[41] This large boom complicated the job market for the upcoming generation, Generation X.[42] However, it is also common in Canada to represent this generation using the date ranges 1961-1981 or 1965-1981.[43][44] [edit] Australia and New Zealand In Australia, there is debate over when Generation X ends and Generation Y begins. A Sydney Morning Herald article defined Generation X as "Those born roughly between 1963-1980."[45] However, 1981 is a common "cut-off" date. Many sources, including the Australian Bureau of Statistics, use a 1965-1981 birth range to define Generation X.[46][47][48][49][50] Like its neighboring country, Australia, sources in New Zealand, including the country's labor statistics, locates Generation X between 1965 and 1981.[51] [52][53] However, the University of Adelaide's Centre for Learning and Professional Development

gave a slightly different range of Generation X birthdates, ranging between 1965 and 1982.[54] [edit] See also List of generations Baby Boomers Generation Jones Generation Y [edit] Notes ^ Stephey, M.J. (2008-04-16). "Gen-X: The Ignored Generation?". Time. Retrieved 2010-05-03. ^ a b Encyclopedia of Identity By Ronald L. Jackson, II ^ a b Strauss, William & Howe, Neil. Generations: The History of America's Future, 1584 to 2069. Perennial, 1992 (Reprint). ISBN 0-688-11912-3 p. 324 ^ Shin, Annys (2008-01-03). "Non-Toxic Tots". Washington Post. Retrieved 2010-09-28. ^ "Generation X Grows Antsy in Job Market". CBS News. 2008-01-03. Retrieved 2011-07-09. ^ a b Carlson, Elwood (2008-06-30). The Lucky Few: Between the Greatest Generation and the Baby Boom. Springer. ISBN 978-1-4020-8540-6. ^ Chaudhry, Lakshmi (2009-09-22). "Obama's Generation X Factor". CBS News. Retrieved 201107-23. ^ a b Ulrich, John. "Introduction: A (Sub)cultural Genealogy". In Andrea L. Harris. GenXegesis:

essays on alternative youth. pp. 3. ^ GenXegesis: essays on alternative youth (sub)culture By John McAllister Ulrich, Andrea L. Harris p. 5. ^ Asthana, Anushka & Thorpe, Vanessa. "Whatever happened to the original Generation X?". The Observer. January 23, 2005. ^ Coupland, Doug. "Generation X." Vista, 1989. ^ Generation X - A Punk History with Pictures ^ Kick, Fran (2005). What makes kids kick:inspiring the millennial generation to kick it. Instruction & Design Concepts. pp. 33. ^ Zimmerman, Eilene (2011-9-24). "Working Relationships Across Generations". New York Times. Retrieved 2011-11-22. ^ Scott, A.O (2010-05-07). "Gen X Has a Midlife Crisis". New York Times. Retrieved 2011-11-19. ^ McClendon, Clarence E. (2000). The X blessing: unveiling a redemptive strategy for a marked generation (page 2). Thomas Nelson. ISBN 0785269029. ^ McKeown, J Leslie (2002). Retaining Top Employees (page 15). McGraw-Hill. ISBN 9780071387569. ^ Rothwell, J Dan (2003). In Mixed Company: Communicating in Small Groups and Teams (page 76). Wadsworth Publishing. ISBN 0534606695. ^ Strauss, William & Howe, Neil. Generations: The History of America's Future, 1584 to 2069. Perennial, 1992 (Reprint). ISBN 0-688-11912-3 p. 365

^ Strauss, William & Howe, Neil. Generations: The History of America's Future, 1584 to 2069. Perennial, 1992 (Reprint). ISBN 0-688-11912-3 p. 30, ^ Strauss, William & Howe, Neil. Generations: The History of America's Future, 1584 to 2069. Perennial, 1992 (Reprint). ISBN 0-688-11912-3 p. 337, ^ "1990-92 Early 1990s Recession". University of California Berkeley. Retrieved 2011-09-01. ^ Wilson, Carl (2011-08-04). "My So Called Adulthood". New York Times. Retrieved 2011-0825. ^ a b Isaksen, Judy L. (2002). "Generation X". St. James Encyclopedia of Pop Culture. ^ Rosenburg, Matt (2009-03-01). "Names of Generations (per the Population Reference Bureau)". About.com. Retrieved 2011-06-04. ^ TIME, Magazine (1998-06-09). "MY GENERATION BELIEVES WE CAN DO ANYTHING". View Askew. Retrieved 2011-09-18. ^ Richard Linklater, Slacker, St Martins Griffin, 1992. ^ Lethem, Jonathan (1998-10-23). "Not a warm puppy". Salon Magazine. Retrieved 2011-09-18. ^ "The Divorce Generation". The Wall Street Journal. 2011-07-09. ^ http://www.notterconsulting.com/Articles/generatio naldive.html ^ http://www.economicmobility.org/assets/pdfs/Econ

omic_Mobility_in_America_Full.pdf ^ Economic Mobility Project ^ Ellis, David (2007-05-25). "Making less than dad did". CNN. Retrieved 2010-05-03. ^ http://www.lsay.org/ ^ Ashthana, Anushka (2008-05-25). "They don't live for work ... they work to live". The Guardian (London). Retrieved 2011-07-21. ^ Devlin, Kate (2007-12-24). "Generation X 'having less sex'". The Telegraph (London). Retrieved 2011-07-21. ^ A (2007-02-18). "Generation X: The slackers who changed the world". The Independent (London). Retrieved 2011-07-21. ^ A (2007-01-19). "Teaching 'Generation X' a lesson". BBC News. Retrieved 2011-07-23. ^ Foot, David. Boom, Bust & Echo.Macfarlane Walter & Ross, 1996. ISBN 0-921912-97-8. p.18-22 ^ Trenton, Thomas Norman (1997-Fall). "Generation X and Political Correctness: Ideological and Religious Transformation Among Students". Canadian Journal of Sociology 22 (4): 41736. Retrieved 2011-06-03. "In Boom, Bust & Echo, Foot (1996: 18-22) divides youth into two groups: 'Generation X' born between 1960 and 1966 and the 'Bust Generation' born between 1967 and 1979." ^ Foot, David. Boom, Bust & Echo.Macfarlane Walter & Ross, 1996. ISBN 0-921912-97-8. p.19 ^ CBC News. http://archives.cbc.ca/society/youth/topics/1209-

6689/. ^ "Destination Canada: Are We Doing Enough?". Deloitte Tourism, Hospitality & Leisure Industry and Tourism Industry Association of Canada (TIAC): 116. 2009. Retrieved 2011-03-28. "67% are members of Generations X (1961-81) and Y (19822001), or the 'contemporary generations'" ^ Nicolosi, Gary (2008-03). "From Maintenance to Mission". The Anglican Diocese of British Columbia. Retrieved 2011-03-31. "Generation X (born 1965-1981)" ^ Holroyd, Jane (2011-07-20). "Talkin' 'bout my label". Sydney Morning Herald. Retrieved 2011-1218. ^ McCrindle, Mark (2005-07-18). "Superannuation and the Under 40s: Summary Report: Research Report on the Attitudes and Views of Generations X and Y on Superannuation.". McCrindle Research. "Generation X 1965-1981...Generation X comprises those aged between 24 and 40...Generation Y 19822000..." ^ Kershaw, Pam (2005). "Managing Generation X and Y". The Sydney Morning Herald (Fairfax Media). Retrieved 2011-03-31. "Generation X: born 19651981...Generation Y: born 1982 onwards." ^ Shoebridge, Neil (2006-10-11). "Generation Y: Catch Them If You Can". Australian Financial Review (Fairfax Media). Retrieved 2011-03-31. "The definitions of generation Y vary...others plumping for 1982 to 1995." ^ "State of the News Print Media in Australia

Report 2008". Australian Press Council. 2008-1222. Retrieved 2011-03-31. "This comment is not meant to convey a negative in regard Generation X (19651981) and Generation Y (19822000)." ^ "Generation X and Y: Who They Are and What They Want". Board Matters Newsletter 8 (3). 200811. Retrieved 2011-03-31. "Generation Y 1965-1981" ^ Eames, David (2008-03-06). "Jumping the Generation Gap". The New Zealand Herald (APN New Zealand Ltd). Retrieved 2011-03-31. "Generation X (1965-1981) Cynical, pessimistic, individualist, no employer loyalty, self-sufficient, sceptical." ^ Pitt, Dr. Colin (2011-03). "Tuning in to the Next Generation of Leaders". inFinance 125 (1): 1. "Generation X: 1965-1981" ^ "Maximum Talent: Young People Are the Workforce of the Future but Many Are Getting Left Behind from Day One. CadetMax Is Turning Unskilled Young People Into Able Employees". Diversity in Action: 116. 2011-Autumn. Retrieved 2011-03-31. ^ "Centre for Learning and Professional Development". University of Adelaide: 1. 2011Autumn. Retrieved 2011-08-31. --------------------------------------------------------------------------------

Hardcore punk From Wikipedia, the free encyclopedia This article's factual accuracy is disputed. Please help to ensure that disputed facts are reliably sourced. See the relevant discussion on the talk page. (December 2011) Hardcore punk Stylistic origins Punk rock, hard rock Cultural origins Late 1970s, United States Typical instruments Vocals, guitar, bass, drums Mainstream popularity Low with some exceptions Derivative forms Alternative rock, alternative metal, crossover thrash, post-hardcore, thrash metal Subgenres Christian hardcore, d-beat, emo, melodic hardcore, nardcore, powerviolence, skate punk, thrashcore (complete list) Fusion genres Metalcore, deathcore, grindcore, crust punk, crossover thrash, digital hardcore, punk jazz, horror punk, manguebeat, sludge metal, grunge, ska-core, Nintendocore Regional scenes Australia - Brazil - Japan - Canada Europe: Italy - Scandinavia: Ume 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 ethic, list of hardcore punk bands, list of hardcore genres Hardcore punk (often referred to simply 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 DIY ethics in underground music scenes. It has influenced a number of music genres which have experienced mainstream success, such as alternative rock, metalcore, grunge, thrash metal, and posthardcore. Hardcore sprouted underground scenes across the United States in the early 1980s particularly in Washington, D.C., California, New York/New Jersey, and Bostonas well as in Canada and 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] Although the music started in English-speaking western countries, scenes have also existed in Brazil, Japan, Europe and The Middle East.[7] Contents [hide] 1 Music and clothing style 2 History 2.1 Late 1970s-early 1980s 2.1.1 United States 2.1.1.1 Los Angeles 2.1.1.2 San Francisco 2.1.1.3 Washington, D.C. 2.1.1.4 Boston 2.1.1.5 New York 2.1.1.6 Other North American regions 2.1.2 Europe 2.2 Mid-1980s 2.3 Late 1980s 2.3.1 Youth crew 2.4 1990s 2.5 2000s 3 Influence on other genres 3.1 Alternative rock

3.2 Electronic music 3.3 Emo and post-hardcore 3.4 Metal 3.5 Thrashcore 4 Politics 5 Hardcore dancing 6 See also 7 Notes 8 References [edit] Music and clothing style In the vein of punk rock, 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. 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."[8]

This distillation of punk was further emphasized through dress. Hardcore punk fans adopted a dressed-down style of T-shirts, jeans, and crewcutstyle 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."[9] [edit] History [edit] Late 1970s-early 1980s [edit] United States [edit] Los Angeles Black Flag performing live in 1984 Michael Azerrad, author of Our Band Could Be Your Life, calls Black Flag the "godfathers" of hardcore punk.[10] Formed in Hermosa Beach, California by guitarist and lyricist Greg Ginn, they played their first show in December 1977. Originally called Panic, they changed their name to Black Flag in 1978.[11] By 1979, Black Flag were joined by other Los Angeles-area bands playing hardcore punk, including Fear, The Germs and the Circle Jerks

(featuring Black Flag's original singer, Keith Morris). This group of bands was featured in Penelope Spheeris' 1981 documentary The Decline of Western Civilization.[12] By the time the film was released, new hardcore bands had formed in Los Angeles and neighboring Orange County, including The Adolescents, Agent Orange, Angry Samoans, Bad Religion, The Descendents, Dr. Know, Ill Repute, Minutemen, Social Distortion, Suicidal Tendencies, TSOL, Wasted Youth, and Youth Brigade. Whilst popular traditional punk bands such as the Ramones, The Clash, and Sex Pistols were on major record labels, the hardcore punk bands were not. Black Flag, however, was briefly signed to MCA subsidiary Unicorn Records, but were dropped because an executive considered their music to be anti-parent.[13] Instead of trying to be courted by the major labels, hardcore bands started their own independent record labels and distributed their records themselves. 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 Azerrad as "easily the most influential and popular underground indie of the Eighties."[10] 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.[14][15][16] Youth Brigade was one of the first hardcore punk bands to tour, chronicling it in the 1984 documentary Another State of Mind.[17] The Another State of Mind tour was funded by "Youth Movement '82", a concert organized by BYO at the Hollywood Palladium that in addition to Youth Brigade featured TSOL, The Adolescents, Wasted Youth, Social Distortion and Blades. The concert was one of the largest punk shows ever held around that time, attended by more than 3,500 people.[18] Concerts in the early Los Angeles hardcore scene increasingly became sites of violent battles between police and concertgoers. Violence at hardcore concerts was portrayed in episodes of the popular television shows CHiPs and Quincy, M.E.[19] [edit] San Francisco

Shortly after Black Flag debuted in Los Angeles, Dead Kennedys were formed in San Francisco. While the band's early releases were played in a style closer to traditional punk rock, In God We Trust, Inc. (1981) marked a shift into what is considered hardcore. Similar to Black Flag and Youth Brigade, Dead Kennedys released their albums on their own label Alternative Tentacles. In addition to Dead Kennedys albums, Alternative Tentacles released 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 1980s included a number of noteworthy bands, including Crucifix, Flipper, Kwik Way, and Whipping Boy. Additionally, during this time seminal Texas-based bands The Dicks, MDC, Verbal Abuse, and Dirty Rotten Imbeciles (D.R.I.) relocated to San Francisco. This scene was helped in particular by the San Francisco club Mabuhay Gardens, whose promoter, Dirk Dirksen, became known as "The Pope of Punk".[20] 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. [edit] 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. [21] The band released its first single, "Pay To Cum", in 1980, and were influential in establishing the D.C. hardcore scene. Ian MacKaye and Jeff Nelson, influenced by Bad Brains, formed the band Teen Idles in 1979. The group broke up in 1980, and MacKaye and Nelson formed Minor Threat, who became a big influence on the hardcore punk genre. The band used faster rhythms and more aggressive riffs than was common at the time. Minor Threat inspired the straight edge movement with its song "Straight Edge", which spoke out against alcohol and drugs. MacKaye and Nelson ran their own record label, Dischord Records, which released records by D.C. hardcore bands including: The Faith, Iron Cross, Scream, State of Alert, Government Issue, Void, and DC's Youth Brigade. The "Flex Your Head" compilation was a seminal document of the early 1980s DC hardcore scene. The record label was run out of the Dischord House, a Washington, D.C. punk house. [edit] Boston Seminal Boston hardcore bands included Jerry's

Kids, Gang Green, The F.U.'s, SS Decontrol, Negative FX, The Freeze and Siege. A faction of the scene was influenced by D.C.'s straight edge scene. Members of bands such as DYS, Negative FX, and SS Decontrol formed the Boston Crew, a militant straight edge group that frequently assaulted punks who drank or used drugs. The controversy surrounding this crew and their antics sparked a debate about violence within the hardcore scene. 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. In 1982, Modern Method Records released This Is Boston, Not L.A., a seminal compilation album of the Boston hardcore scene. The compilation 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. [edit] New York Main article: New York hardcore The New York City hardcore scene emerged in 1981 when Bad Brains moved to the city from Washington, D.C.[22][23] Starting in 1981, there was an influx of new hardcore bands in the city, including The Mob, The Abused, Heart Attack, Kraut, Beastie Boys, Murphy's Law, Urban Waste, Agnostic Front, Reagan Youth, No Thanks, The

Icemen and Warzone. A number of bands associated with the New York City hardcore scene came from nearby New Jersey, most famously the Misfits. Others included Adrenalin OD, Mucky Pup and The Undead. In the early 1980s, the New York hardcore scene was headquartered in a small afterhours bar, A7, on the lower east side of Manhattan. Later, New York's hardcore scene was centered around CBGB, whose owner, Hilly Kristal, embraced hardcore punk. For several years, CBGB held weekly hardcore matinees on Sundays. This stopped in 1990 when violence led Kristal to ban hardcore shows at the club. 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.[24] 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.[25] In 1982, Bob Sallese produced The Big Apple Rotten To The Core compilation on S.I.N. Records, featuring The Mob, Ism and four other bands from the early A7 era. The album gained notoriety on the commercial radio station WLIR, and nationally on college radio. The LP was followed by The Big Apple Rotten To The Core, Vol. 2 in 1987 on Raw Power Records.

[edit] Other North American regions From left: Richard Bowser of Violent Apathy, Scott Boman of the Degenerates and Spite, and John Brannon of Negative Approach. Minneapolis hardcore consisted of bands such as Hsker D and The Replacements, while Chicago had Articles of Faith, Big Black and Naked Raygun. The Detroit area was home to Crucifucks, Degenerates, The Meatmen, The Necros, Negative Approach, Spite and Violent Apathy. JFA and Meat Puppets were both from Phoenix, Arizona, 7 Seconds from Reno, Nevada, and Butthole Surfers, Big Boys, The Dicks, Dirty Rotten Imbeciles (D.R.I.), Really Red, and MDC were from Texas. Portland Oregon bands included Poison Idea, Final Warning and The Wipers. Hardcore bands in Washington state included The Accsed, 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 its style as "hardcore", with the release of their album Hardcore '81. Other early hardcore bands from British Columbia included Dayglo Abortions and The Skulls. [edit] 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",[26] "real punk",[27] and "No Future punk", [28] 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 Motrhead.[29] 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.[30] Another U.K. band, The Varukers, were one of the original D-beat bands,[31] and Sweden in particular produced a number of D-beat bands during this time period including Anti-Cimex, Disfear, and Totalitr. 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".[32] Other U.K. hardcore bands from this period included Broken Bones, Chaos UK, Charged GBH, Dogsflesh, Disorder, English Dogs, and Napalm Death.

[edit] Mid-1980s The mid 1980s were a time of transition for the hardcore scene. Bands such as Husker Du, Articles of Faith, and new bands formed by members of bands like Deep Wound and Minutemen experimented with other genres and were embraced by college radio, coining the term "College Rock". Many Boston bands such as SS Decontrol, Gang Green, DYS, and The F.U.'s, as well as Midwestern hardcore bands Necros, Negative Approach and The Meatmen moved in a slower, heavier hard rock direction. Crossover thrash was another influential movement in mid1980s hardcore, with bands like DRI, Corrosion of Conformity, Suicidal Tendencies, Cro-Mags, Agnostic Front, Rich Kids on LSD, Accused and Cryptic Slaughter embracing the thrash metal of bands like Slayer. And most of the Washington D.C. hardcore scene eschewed hardcore in favor of a college rock-influenced style of punk. With hardcore punk diverging in so many directions, the mid-80s scene was a very fragmented one. [edit] Late 1980s By the mid to late 1980s, many of the most prominent hardcore punk bands had broken up. Bad Religion made a progressive rock album with Into the Unknown,[33] the Beastie Boys gained fame by playing hip hop, and Bad Brains incorporated more reggae into their music, such as

in their 1989 album Quickness.[34] Social Distortion went on hiatus after its 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.[35] [edit] Youth crew While hardcore punk was declining in many American cities, New York City was becoming an even bigger epicenter for hardcore, particularly the youth crew movement. Influenced by Minor Threat, 7 Seconds, Bl'ast, and Uniform Choice, 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. [36] In the late 1980s, other New York bands associated with youth crew included Bold, Gorilla Biscuits and Side by Side. Youth crew spread beyond New York to Southern California bands such as Chain of Strength and Inside Out. [edit] 1990s Washington D.C.'s Battery in 1994 At the beginning of the 1990s, bands such as Born Against, Rorschach, Burn 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. Hardcore subsequently became a broad

umbrella term, as a variety of different sub-genres arose, such as; melodic hardcore (Avail, Lifetime, Kid Dynamite), emo (Ashes, Endpoint, Saves the Day), d-beat (Avskum, Aus Rotten, Skitsystem), powerviolence (Spazz, Dropdead, Charles Bronson), thrashcore (What Happens Next?, Voorhees, Vivisick), mathcore (Dillinger Escape Plan, Botch, Converge), screamo (Heroin, Antioch Arrow, Swing Kids) and rapcore. While the 1990s had many different sounds and styles emerging, the genre primarily branched into two directions; new school metallic hardcore (sometimes referred to as metalcore), which incorporated aspects of thrash metal and death metal for a heavier and more technical sound, and old school, reminiscent of classic styles of hardcore punk like youth crew. "New school" bands such as Strung Out, Earth Crisis, Snapcase, Strife, Hatebreed, 108, Integrity and Damnation A.D. dominated the scene in the early 1990s, but towards the end of the decade, a new-found interest in "old school" had developed, represented by bands like Battery, Ten Yard Fight, In My Eyes, Good Clean Fun, H2O and Ray Cappo's new band Better Than a Thousand.[37][38][39][40] Many of the bands during this time wrote lyrics about straight edge, politics, civil rights, animal rights and spirituality. Ray Cappo's views led him to become a Hare Krishna and 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.[41] While most of the bands embraced the straight edge lifestyle, some prominent ones from this era did not, such as Biohazard, Madball and Sick of It All. As a result of the Internet, music festivals such as Hellfest, and the commercial success of Victory Records and Trustkill Records, various bands such as Refused went on to find success with a larger audience and eventually brought the term "hardcore" into the mainstream.[42][43] [edit] 2000s With the increased popularity of punk rock in the mid-1990s and the 2000s, some hardcore bands signed with major record labels. The first was New York's H2O, who released its album Go (2001) for MCA. Despite an extensive tour and an appearance on Late Night with Conan O'Brien, the album was not commercially successful, and when the label folded, the band and the label parted ways. In 2002, California's AFI signed to DreamWorks Records and changed its sound considerably for its successful major label debut Sing the Sorrow. Chicago's Rise Against were signed by Geffen Records, and three of its releases on the label were certified platinum by the RIAA.[44] 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.[45][46] And with Endgame, it was substituted with a more melodic hardcore approach. United Kingdom band Gallows were signed to Warner Bros. Records for 1 million.[47] 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.[48] Los Angele's 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.[49] 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".[50] During the performance of its song "Baiting the Public", the majority of the audience were moshing, which caused $2000 in damages to the set.[51] Apart from all of the genres that rose to prominence following hardcore, straightforward hardcore bands which take a stylistic approach more towards the first hardcore "sound", continue to rise and tour nationally/internationally. Such bands include Hoods, Trapped Under Ice, and Stout among many others.

[edit] Influence on other genres [edit] Alternative rock Some hardcore bands began experimenting with other styles as their careers progressed in the 1980s, becoming known as alternative rock.[52] Bands such as Minutemen, Meat Puppets, Hsker D, 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."[53] In the mid-1980s, northern West Coast state bands such as Melvins, Flipper 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.[54] 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 hardcore albums among his top 50 favorites.[55] [edit] Electronic music Digital hardcore is a music genre fusing elements of hardcore punk and various forms of electronic music and techno.[56][57] It developed in Germany during the early 1990s, and often features

sociological or left-extremist lyrical themes.[56][57] Nintendocore, another musical style, fuses hardcore with video game music, chiptunes, and 8bit music.[58][59][60] [edit] Emo and post-hardcore The 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 first took shape in Chicago, with bands such as Big Black, The Effigies and Naked Raygun,[61] while later developed in Washington, DC within the community of bands on Ian MacKaye's Dischord Records with bands such as Fugazi, The Nation of Ulysses, and Jawbox.[62] The style has extended until the late 2000s.[62] The mid-80s Washington D.C. post-hardcore scene would also see the birth of emo. 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.[63] Other D.C. bands such as Gray Matter, Beefeater, Fire Party, Dag Nasty, also became connected to this movement.[64][65] The style was dubbed "emo", "emo-core",[66] or "postharDCore"[67] (in reference to one of the names given to the Washington D.C. hardcore scene[68]).

[edit] 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.[69] This genre developed during the early 1990s, in the Southern United States (particularly in the New Orleans metal scene).[70][71][72] Some of the pioneering bands of sludge metal were: Eyehategod,[69] Crowbar,[73] Down,[74] Buzzov*en,[71] Acid Bath[75] and Corrosion of Conformity.[72] Later, bands such as Isis and Neurosis,[76] with similar influences, created a style that relies mostly on ambience and atmosphere[77] that would eventually be named atmospheric sludge metal or post-metal.[78] 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.[79] 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.[80] [edit] Thrashcore Often confused with crossover thrash and sometimes thrash metal, is thrashcore.[81][82] Thrashcore (also known as fastcore[83]) is a subgenre of hardcore punk that emerged in the early 1980s.[84] It is essentially sped-up hardcore punk, with bands often using blast beats.[83] Thrashcore spun off into powerviolence, another raw and dissonant subgenre of hardcore punk.[82] [85] [edit] Politics Punk fans burning a United States flag. Many bands took left wing political stances and were vocally against Republican U.S. 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.[86][87] Shortly after Reagan's death in 2004, the Maximumrocknroll Radio Show composed an episode made up of anti-Reagan songs from the 1980s including material by Dead Kennedys, Government Issue, DRI, Youth Brigade,

Crucifucks, Wasted Youth, Dayglo Abortions, Reagan Youth, TSOL, The Fartz and others.[88] Similarly during the 20012009 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, Rise Against,[89] Circle Jerks, Ensign, Sick of It All, The Unseen, Western Addiction, and Youth Brigade involved themselves with the anti-Bush political activist group Punkvoter.[90] A minority of hardcore artists were more right wing, such as Antiseen, whose guitarist Joe Young ran for office in North Carolina as a Libertarian. Former Misfits singer Michale Graves also infamously appeared on an episode of The Daily Show, voicing his support for George W. Bush.[91] [92] [edit] Hardcore dancing Main article: Moshing Crowdsurfing over a mosh pit. 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 a few hardcore bands, invaded the stage, damaged

studio equipment and used profanity.[93][94] They included John Joseph of Cro-Mags, as well as Ian Mackaye of Minor Threat.[95] In the second half of the 1980s, the thrash metal scene adopted this form of dancing, with bands such as Anthrax and Stormtroopers of Death (an Anthrax-affiliated project) popularizing the terms mosh and moshing with the metal scene.[96] [edit] See also List of hardcore punk bands [edit] Notes Hurchalla, George, Going Underground: American Punk 19791992 (Zuo Press, 2005) Manley, Frank, Smash the State: A Discography of Canadian Punk, 1977-92 (No Exit, 1993), ISBN 09696631-0-2

-------------------------------------------------------------------------------Oi! From Wikipedia, the free encyclopedia

For other uses, see Oi (disambiguation). This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2007) Oi! Stylistic origins Punk rock, glam rock, pub rock, drinking songs, football chants, folk music, ska Cultural origins Late 1970s United Kingdom (particularly the east end of London). Typical instruments Vocals - Drums - Electric guitar - Bass guitar Mainstream popularity underground following among punks, skinheads, Herberts and casuals Derivative forms Street punk Subgenres Punk pathetique Other topics Garry Bushell - Sounds magazine - working class punk ideologies - football hooliganism - UK 82 Street punk - mod revival Oi! is a working class subgenre of punk rock that originated in the United Kingdom in the late 1970s. [1] The music and its associated subculture had the goal of bringing together punks, skinheads and other working-class youths (sometimes called herberts). The Oi! movement was partly a response to the

perception that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, trendy university people using long words, trying to be artistic...and losing touch.[2] Andr Schlesinger, singer of The Press, said, Oi shares many similarities with folk music, besides its often simple musical structure; quaint in some respects and crude in others, not to mention brutally honest, it usually tells a story based in truth.[3] Contents [hide] 1 History 2 Association with far right politics 3 See also 4 References 5 External links [edit] History Oi! became a recognized genre in the latter part of the 1970s, emerging after the perceived commercialization of punk rock, and before the soon-to-dominate hardcore punk sound. It fused the sounds of early punk bands such as the Sex Pistols, the Ramones, The Clash, and The Jam with influences from 1960s British rock bands such as The Rolling Stones, the Small Faces, and The Who; football chants; pub rock bands such as Dr. Feelgood, Eddie and the Hot Rods, and The 101ers;

and glam rock bands such as Slade and Sweet. Direct precursors to the first Oi! bands included Sham 69, Cock Sparrer, and Menace, who were around for years before the word Oi! was used retroactively to describe their style of music. In 1980, writing in Sounds magazine, rock journalist Garry Bushell labelled the movement Oi!, taking the name from the garbled "Oi!" that Stinky Turner of Cockney Rejects used to introduce the band's songs.[4] The word is an old Cockney expression, meaning hey or hello. In addition to Cockney Rejects, other bands to be explicitly labeled Oi! in the early days of the genre included Angelic Upstarts, The 4-Skins, The Business, Blitz, The Blood, and Combat 84.[5] The prevalent ideology of the original Oi! movement was a rough brand of socialist, workingclass populism. Lyrical topics included unemployment, workers' rights, harassment by police and other authorities, and oppression by the government.[2] Oi! songs also covered lesspolitical topics such as street violence, football, sex, and alcohol. Although Oi! has come to be considered mainly a skinhead-oriented genre, the first Oi! bands were composed mostly of punk rockers and people who fit neither the skinhead nor punk label. After the Oi! movement lost momentum in the

United Kingdom, Oi! scenes formed in continental Europe, North America, and Asias. Soon, especially in the United States, the Oi! phenomenon mirrored the hardcore punk scene of the early 1980s, with Oi!-influenced bands such as Agnostic Front, Iron Cross, and Anti Heros. Later American punk bands such as Rancid and Dropkick Murphys have credited Oi! as a source of inspiration.[6] In the mid-1990s, there was a revival of interest in Oi! music in the UK, leading to older Oi! bands receiving more recognition. In the 2000s, many of the original UK Oi! bands reunited to perform and/or record. [edit] Association with far right politics Some fans of Oi! were involved in white nationalist organisations such as the National Front (NF) and the British Movement (BM), leading some critics to identify the Oi! scene in general as racist.[2] However, none of the bands associated with the original Oi! scene promoted racism in their lyrics. Some Oi! bands, such as the Angelic Upstarts, The Burial, and The Oppressed were associated with left wing politics and anti-racism.[7] The white power skinhead movement had developed its own music genre called Rock Against Communism, which had musical similarities to Oi!, but was not connected to the Oi! scene. Timothy S. Brown identifies a deeper connection: Oi!, he writes "played an important symbolic role in the politicization of the skinhead subculture. By

providing, for the first time, a musical focus for skinhead identity that was 'white'that is, that had nothing to do with the West Indian immigrant presence and little obvious connection with black musical rootsOi! provided a musical focus for new visions of skinhead identity [and] a point of entry for a new brand of right-wing rock music."[8] The mainstream media especially associated Oi! with far right politics following a concert by The Business, The 4-Skins, and The Last Resort on 4 July 1981 at the Hambrough Tavern in Southall. Local Asian youths threw Molotov cocktails and other objects, mistakenly believing that the concert was a neo-Nazi event, partly because some audience members had written National Front slogans around the area.[2][9] Although some of the skinheads were NF or BM supporters, among the 500 or so concert-goers were also left-wing skinheads, black skinheads, punk rockers, rockabillies, and non-affiliated youths.[10] Five hours of rioting left 120 people injuredincluding 60 police officersand the tavern burnt down.[9] [11] In the aftermath, many Oi! bands condemned racism and fascism. These denials, however, were met with cynicism from some quarters because of the Strength Thru Oi! compilation album, released in May 1981. Not only was its title a play on a Nazi slogan "Strength Through Joy"but the cover featured

Nicky Crane, a skinhead BM activist who was serving a four-year sentence for racist violence. Critic Garry Bushell, who was responsible for compiling the album, insists its title was a pun on The Skids' album Strength Through Joy, and that he had been unaware of the Nazi connotations.[7] He also denied knowing the identity of the skinhead on the album's cover until it was exposed by the Daily Mail two months later.[7] Bushell, a socialist at the time, noted the irony of being branded a far right activist by a newspaper that "had once supported Oswald Mosley's Blackshirts, Mussolini's invasion of Abyssinia, and appeasement with Hitler right up to the outbreak of World War Two."[7] Another subsequent source for the popular association between Oi! and a racist or far-right creed was the band Skrewdriver, a first wave punk act that had broken up in 1979. Lead singer Ian Stuart Donaldson was recruited by the National Frontwhich had failed to enlist any actual Oi! bandsand reconstituted Skrewdriver as a white power skinhead act. While the band shared visual and musical attributes with Oi!, Bushell asserts, "It was totally distinct from us. We had no overlap other than a mutual dislike for each other."[6] Donaldson and Crane would later go on to found a magazine, Blood and Honour, and a streetorientated 'skinhead' club of the same name that arranged concerts for Skrewdriver and other racist

bands such as No Remorse. Demonstrating the ongoing conflation of Oi! with the white power skinhead movement by some obervers, the Encyclopedia of British and Irish Political Organizations refers to these groups as "'white noise' and 'oi' racist bands".[12] Yet at the same time the Cockney Rejects and the fledgling 4-Skins in 1980 were fighting and defeating the British Movement both on the streets in Barking and at concerts such as the Angelic Upstarts at the Electric Ballroom in Camden Town .[13][14] [edit] See also List of Oi! bands [edit] References ^ Dalton, Stephen, "Revolution Rock", Vox, June 1993 ^ a b c d Robb, John (2006). Punk Rock: An Oral History (London: Elbury Press). ISBN 0091905117. ^ Glasper, Ian (2004). Burning Britain (London: Cherry Red), p. 282. ^ "Cockney Rejects: History and Pictures / Oi Music / Punk Rock". Punkmodpop.free.fr. Retrieved 2010-03-24. ^ Marshall, George (1991). Spirit of '69: A Skinhead Bible (Dunoon, Scotland: S.T. Publishing). ISBN 1898927103. ^ a b Petridis, Alexis (2010-03-18). "Misunderstood or hateful? Oi!'s rise and fall". Guardian. Retrieved 2010-11-18.

^ a b c d Bushell, Garry. "Oi!The Truth". garrybushell.co.uk. Archived from the original on 200807-31. Retrieved 2010-11-19. ^ Brown, Timothy S. (Fall 2004). "Subcultures, Pop Music and Politics: Skinheads and 'Nazi Rock' in England and Germany". Journal of Social History. Retrieved 2010-11-18. ^ a b "Race Riot Strikes London". Associated Press. 5 July 1981. Retrieved 2010-01-12. ^ Marshall, George (1991). Spirit of '69: A Skinhead Bible (Dunoon, Scotland: S.T. Publishing), pp. 107108. ISBN 1898927103. ^ Marshall, George (1991). Spirit of '69: A Skinhead Bible (Dunoon, Scotland: S.T. Publishing), pp. 106, 110. ISBN 1898927103. ^ Barberis, Peter, John McHugh, and Mike Tyldesley (2000). Encyclopedia of British and Irish Political Organizations (London and New York: Continuum International Publishing Group), p. 175. ISBN 0826458149. ^ Turner, Jeff and Garry Bushell, Cockney Reject (2005: London, John Blake Publishing Ltd., ISBN 1 84454 0545) pp. 44, 49, 54, 101, 175, 184, 232 ^ Bushell, Gary, Hoolies - True Stories of Britain's Biggest Street Battles, (2010: London, John Blake Publishing Ltd, ISBN 1844549070 [edit] External links Europe Punk - Music for social change,not profit. Oi!The Truth history of Oi! by Garry Bushell

(archived) Punk and Oi! in the UK includes interviews and news about Oi! bands Oi! the Web Site includes information about the original Oi! compilation albums Oi! Oi! Music monthly updated news, reviews and interviews pertaining to Oi! music

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