Relevant bibliographies by topics / Hardcore punk music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hardcore punk music'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Hardcore punk music"

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McDowell, Amy D. "Aggressive And Loving Men." Gender & Society 31, no. 2 (2017): 223–44. http://dx.doi.org/10.1177/0891243217694824.

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This research uses Christian Hardcore punk to show how evangelical Christian men respond to changes in gender relations that threaten hegemonic masculinity through a music subculture. Drawing on interviews and participant observations of live music shows, I find that Christian Hardcore ministry involves a hybrid mix of aggressive and loving performances of manhood. Christian Hardcore punk men fortify the idea that men and women are essentially opposites through discourse and the segregation of music spaces, even as they deviate from dominant ideas of what makes a man in their strategy of openl
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Moore, Ryan, and Michael Roberts. "Do-It-Yourself Mobilization: Punk and Social Movements." Mobilization: An International Quarterly 14, no. 3 (2009): 273–91. http://dx.doi.org/10.17813/maiq.14.3.01742p4221851w11.

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The intersection between music and social movements is a fertile area of research. We present three case studies taken from punk-the Rock Against Racism campaign in Britain during the late 1970s, the American hardcore scene of the 1980s, and the riot grrrl feminism of the early 1990s-as instances where music and subculture have not simply figured as symbolic forms of resistance and identity formation but also as a means of organizing protest, raising consciousness, and creating change. The central mechanism that has allowed punk subcultures to achieve high levels of mobilization has been the d
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Ensminger, David. "Redefining the Body Electric: Queering Punk and Hardcore." Journal of Popular Music Studies 22, no. 1 (2010): 50–67. http://dx.doi.org/10.1111/j.1533-1598.2010.01219.x.

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Martinez, Amanda Marie. "Suburban Cowboy." California History 98, no. 1 (2021): 83–97. http://dx.doi.org/10.1525/ch.2021.98.1.83.

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This essay analyzes the political and cultural significance of confrontations between country music fans and punk rockers in the suburban community of Costa Mesa, California, in the early 1980s. During this time, Orange County was defined by paradox. On one hand, the region proved historically influential to leading conservative politics and the rise of Ronald Reagan, and bore a legacy of a country music and cowboy culture that well complemented such conservatism. And yet, the area also served as the breeding ground where right-wing politics and suburbanism’s sonic resistance, hardcore punk ro
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Nehring, Neil. "The Situationist International in American Hardcore Punk, 1982–2002." Popular Music and Society 29, no. 5 (2006): 519–30. http://dx.doi.org/10.1080/03007760500167420.

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Attfield, Nicholas. "From punk into pop (via hardcore): Re-reading the Sub Pop manifesto." Punk & Post-Punk 00, no. 00 (2021): 1–17. http://dx.doi.org/10.1386/punk_00086_1.

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Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what
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Raposo, Ana, and Russ Bestley. "Designing fascism: The evolution of a neo-Nazi punk aesthetic." Punk & Post-Punk 9, no. 3 (2020): 467–98. http://dx.doi.org/10.1386/punk_00039_1.

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This article explores the design strategies of four record labels associated with the growth of an explicitly far-right sub-genre of punk in the United Kingdom between 1979 and the early 2000s: Rock-O-Rama Records, White Noise Records, Rebelles Européens and ISD Records. While Rock-O-Rama saw the inclusion of the genre as simply an extension of their existing business model, the other labels were established specifically to support the activities of a small number of explicitly far-right groups who were blacklisted by mainstream producers and distributors within the music industry. These label
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Ollivier, Rosalie, Louise Goupil, Marco Liuni, and Jean-Julien Aucouturier. "Enjoy The Violence." Music Perception 37, no. 2 (2019): 95–110. http://dx.doi.org/10.1525/mp.2019.37.2.95.

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Traditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore, or metal—whose vocal and instrumental characteristics share much similarity with acoustic threat signals—should evoke unpleasant feelings for a large proportion of listeners. Why it doesn't for metal music fans, however, is controversial: metal fans may differ from non-fans in how they process threat signals at the sub-cortical level, showing deactivated responses that differ from controls. Alternatively, appreciation for metal may depend on the inhibition by cortical circuits of a n
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Fathallah, Judith. "Is stage-gay queerbaiting? The politics of performative homoeroticism in emo bands." Journal of Popular Music Studies 33, no. 1 (2021): 121–36. http://dx.doi.org/10.1525/jpms.2021.33.1.121.

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Queerbaiting is a fast-expanding topic in media and cultural studies. In 2015, this author attempted to define queerbaiting as a strategy by which writers and networks attempt to gain the patronage of queer viewers via the suggestion of queer relationships, before denying and laughing off the possibility. Joseph Brennan’s 2019 edited volume has greatly developed the concept of queerbaiting to include a range of meanings, from media industries’ pledges of allegiance to LGBT causes that are not delivered upon to courting queer viewers via paratexts that imply queer relationships that don’t exist
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Bishop, Michael Bryan. "American Hardcore: The History of American Punk Rock, 1980–1986. Paul Rachman and Steven Blush, directors. Sony Pictures DVD 17094, 2007." Journal of the Society for American Music 1, no. 4 (2007): 558–60. http://dx.doi.org/10.1017/s1752196307071398.

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Dissertations / Theses on the topic "Hardcore punk music"

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Roby, David Allen. "Bastard offspring : heavy metal, hardcore punk, and metalcore." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1486.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music
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Gordon, Alastair Robert. "The authentic punk : an ethnography of DiY music ethics." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7765.

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This thesis examines how select participants came to be involved in DiY punk culture, what they do in it, and how, if they do, they exit from the culture. Underpinning this will be an ethnographic examination of how the ethics of punk informs their views of remaining authentic and what they consider to be a sell out and betrayal of these values. I illustrate how such ethics have evolved and how they inform the daily practice of two chosen DiY punk communities in Leeds and Bradford. I show how these communities reciprocally relate to each other. I ask such questions as what do the participants
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Kochan, Brian J. "Youth Culture and Identity: A Phenomenology of Hardcore." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/KochanBJ2006.pdf.

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Lancina, Murillo Josep Lluís. "Patrones de movimiento corporal en la performance musical. Una aproximación antropológica a las escenas barcelonesas de punk, hardcore e improvisación libre." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671873.

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El objetivo principal de esta tesis es la comprensión del papel de determinados movimientos corporales no instrumentales pero relacionados de una u otra forma con la música en los procesos de identificación colectiva e individual, y en la formación y mantenimiento de un sentimiento de pertenencia a un colectivo de personas unidas principalmente por tener un interés en común en un género musical determinado. Los movimientos, acciones y posturas corporales investigados son los realizados por las personas músicas durante la performance musical, el concierto, excluyendo los movimientos instrum
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Swanström, Emma. "Här för att stanna : En studie om medelålders kvinnor inom subkulturerna punk/hardcore, hårdrock/metal och folkmusik." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-128932.

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”Here to stay” is the english title of this essay, about middle aged women who participates in these subcultures punk/hardcore, hard rock/metal and folk music in Sweden. The purpose is to explore the terms and conditions of participation for middle aged women in the subcultures. I have made interviews with six women between fortyseven och and sixtyseven years old who are organisers, musicians and in other ways taking part in these subcultures and scenes. I have also made observations at events and used autoethnography as method as I am part of the Swedish DIY punk scene. My analysis is based o
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Garcia, Ricci Chavez. "Border hoppin' hardcore| The forming of Latina/o punks' transborder civic imagination on the Bajalta California borderlands and the refashioning of punk's revolutionary subjectivity, 1974--1999." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591582.

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<p>From its roots in Richie Valens's "La Bamba" riffs, garage rock, and the Ramones to hardcore and the cultural front of the anti-globalization movement, Latina/os have played a significant role in punk music, fashion, identity, and politics. In the 1970s and 1980s, in context of the transformative effects of neo-liberal economic globalization on the United States I Mexico borderlands, working class Latina/o youth from the barrios of Los Angeles to Tijuana's colonias were instrumental in shaping punk's subcultural identity. Though separated by national borders, Latina/o socio-economic conditi
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Roby, David. "Crust Punk: Apocalyptic Rhetoric and Dystopian Performatives." Thesis, 2013. http://hdl.handle.net/1969.1/151027.

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The main focus of this thesis is to understand the myriad ways in which crust punk as an expressive cultural form creates meaning, forms the basis for social formation (or music scene), and informs the ways in which its participants both interact with and understand the world around them. Fieldwork for this research was conducted during the summer of 2012 in Austin, Texas. Primary methodology included participant observation, semi-structured interviews, and online ethnography. Additional research data was collected over the last five years through my own personal involvement with the crust pun
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De, Rome Stéphanie. "Le straight edge au Québec : abstinence, musique hardcore et résistance." Thesis, 2020. http://hdl.handle.net/1866/25686.

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Ce mémoire porte sur la notion de résistance sous-culturelle chez la sous-culture straight edge dans le contexte du Québec et s’intéresse à la place et au rôle de la musique hardcore à travers cette résistance. S’inscrivant dans le domaine de la sociomusicologie, il est le résultat d’une étude de terrain menée à l’aide d’entretiens auprès de participants à la sous-culture straight edge québécoise. Il s’intéresse au développement de la culture straight edge dans le contexte du Québec et à son organisation en marge de l’industrie culturelle mainstream en explorant son lien et son positionn
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Ortlieb, Paulina Elizabeth. "The importance of counter-culture in art and life." Thesis, 2014. http://hdl.handle.net/1828/5881.

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Punk rock provided not only a watershed of creativity, innovation and a do-it-yourself spirit to a culture saturated in the mainstream, it physically brought like-minded people together in a community, or rather extended family, which in today’s hyper-d.i.y. culture, is progressively declining. As early as the 1940s, theorists such as Adorno and Horkheimer warned us about alienation in a society increasingly dependent on technology. By looking to punk, and other resilient and robust counter-cultures, perhaps we can find solutions to the pitfalls of the ‘culture industry’ (Adorno, Horkheimer, 1
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Books on the topic "Hardcore punk music"

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Rettman, Tony. Why be something that you're not: Detroit hardcore 1979-1985. Revelation Records, 2010.

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Vee, Tesco. Touch and go: The complete hardcore punk zine '79-'83. Bazillion Points, 2010.

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Dave, Stimson, and Miller Steve, eds. Touch and go: The complete hardcore punk zine '79-'83. Bazillion Points, 2010.

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Büsser, Martin. If the kids are united--: On Punk zu Hardcore und zurück. 2nd ed. Dreieck-Verlag, 1995.

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Büsser, Martin. --if the kids are united--: Von Punk zu Hardcore und zurück. 3rd ed. [symbol for triangle]-Verlag Jens Neumann, 1996.

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Haenfler, Ross. Straight edge: Clean-living youth, hardcore punk, and social change. Rutgers University Press, 2006.

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Straight edge: Clean-living youth, hardcore punk, and social change. Rutgers University Press, 2005.

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Mader, Matthias. New York City Hardcore: The way it was ... Jeske/Mader, 1999.

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Markey, Dave. We got power!: Hardcore punk scenes from 1980s Southern California. Bazillion Points, 2012.

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Büsser, Martin. If the kids are united--: Von Punk zu Hardcore und zurück : update! Dreieck-Verlag, 1995.

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Book chapters on the topic "Hardcore punk music"

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Wiseman-Trowse, Nathan. "Punk and Hardcore." In Performing Class in British Popular Music. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594975_7.

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Pearson, David. "The Dystopian Sublime of Extreme Hardcore Punk." In Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.003.0004.

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With roots in the 1980s and becoming a coherent trend in the 1990s, extreme hardcore punk pushed the intensity of punk music beyond previous levels with beats over 800 BPM, screamed or growled vocals, and guitar riffs built from dissonant and nondiatonic pitch material. Its lyrics often provided dystopian warnings of environmental catastrophe and humanity’s downfall due to globalized capitalism. Analysis and reception history of the music of bands such as Dropdead, His Hero Is Gone, Hellnation, and Capitalist Casualties identify the musical techniques and sublime effects of the extreme hardcore punk subgenre, also referred to as grindcore and power violence.
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Pearson, David. "Out of the “Dregs of the Eighties” and Screaming at the New World Order." In Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.003.0002.

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In the late 1980s, the US punk scene was plagued by Nazi skinheads, macho violence, and hostility toward leftist politics. At the dawn of the 1990s, several punk bands challenged this state of affairs by putting radical leftist politics at the heart of the scene, ejecting racists, and opening space for women, Latino, and queer participants. They fostered new and more intense musical styles distinct from New York Hardcore (NYHC) style, and built new institutions—zines, performance venues, and record labels—to give shape to their music and politics. The music of the all-Latino band Los Crudos exemplifies the trend of intense hardcore punk with a strident political message.
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Pearson, David. "Punk’s Popularity Anxieties and the Introspective Aggression of So-Cal Punk." In Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.003.0006.

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With the rise of the alternative music industry and the mainstream success of a few punk bands in the 1990s, the underground punk scene engaged in a vituperative debate over staying DIY versus “selling out.” Amid this debate, those promoting a discourse of DIY purity insisted on excising commercially successful bands from the punk scene, while others embraced the diversity of punk music or questioned the importance of DIY purity. One style that found some commercial success, So-Cal punk, combined 1980s hardcore punk with melodic vocals, intricate palm-muted guitar rhythms, octave-chord lead guitar parts, and more polished recordings and spoke to the postmodern existential dilemmas of disaffected suburban youth. The music of NOFX’s The Decline exemplifies So-Cal punk style and offers a critique of the decline of American society.
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Pike, Sarah M. "“Liberation’s Crusade Has Begun”." In For the Wild. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294950.003.0006.

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Chapter Five explores the interweaving of music, Hindu religious beliefs, and activism motivated by rage in the context of hardcore punk rock. In this chapter, I describe the unlikely convergence of hardcore punk rock, Krishna Consciousness, and animal rights in youth subcultural spaces in order to understand how the aural and spiritual worlds created by some bands shaped the emergence of radical animal rights. At times these music scenes nurtured the idea of other species as sacred beings and sparked outrage at their use and abuse by humans. Bands made fans into activists who brought the intensity of hardcore to direct actions in forests, at animal testing labs and mink farms, and against hunting and factory farming.
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Pearson, David. "Whose Rebellion was Punk in the 1990s?" In Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.003.0005.

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While punk in the United States is often associated with white, male, suburban youth, the 1990s witnessed a dramatic increase in the vocal participation of women and Latinos in US punk bands. The all-Latino, Spanish-language band Los Crudos built a punk scene in the Chicago majority-Mexican neighborhood of Pilsen and went on to captivate the punk scene in the United States and internationally with their ferocious hardcore punk music and unapologetic assertion of Latino identity. The all-women band Spitboy as well as bands with women vocalists such as Anti-Product challenged patriarchy inside and outside the punk scene and fused the anger and energy of punk music with their own experiences of oppression and empowerment. The increasing and assertive participation of Latinos, women, and LGBTQ people in US punk generated responses ranging from supportive to hostile and sparked debate over the ideals and realties of punk values of unity and equality.
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Rapport, Evan. "“Decisions with Precisions”: New Directions for Hardcore in Washington, DC." In Damaged. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0007.

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The music made in Washington DC in the late 1970s and early 1980s fundamentally changed punk. Washington DC was a different environment than the other cities where punk was based in that it was majority Black during this period, with a significant Black presence in the suburbs. The emergence of Bad Brains, an all-Black quartet, at the center of the scene established punk as an authentic form of expression for African Americans and other people of color. Bad Brains and Minor Threat also raised the stakes for musicality in hardcore punk, with complex songs played with virtuosic technique, and they reintroduced elements such as blues-based riffs and rhythmic variations. This chapter also describes the ways in which the punk scene in Washington DC solidified punk’s status as music by and for teenagers and Generation X.
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Montague, Eugene. "Rhythm and the Physical." In Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0006.

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Of all musical elements, rhythm is the most closely associated with temporal experience. When rhythms are categorized as structural objects, their active qualities can be lost, obscuring the physical life of rhythmic performance. This chapter argues for understanding rhythmic objects as inherently active, with a necessary physical aspect. One way these aspects emerge is through the processes that undergird performance. When a rhythm is learned as a gesture, it brings with it a particular physical history, developed over periods of repetition. This chapter examines rhythmic objects in three case studies, including performances of piano music by Saint-Saëns and Chopin, and a hardcore punk song by the band Minor Threat. Close analysis of the gestures that produce rhythms in these varied musics suggests the role of metrical experience in creating rhythms and, consequentially, how rhythms may be valued for the physical gestures they demand.
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