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Journal articles on the topic 'Hardcore punk music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Stewart, Jon. "Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music. Edited by Eric James Abbey and Colin Helb. Lanham, MD: Lexington Books, 2014. 212 pp. ISBN 978-0-7391-7605-4." Popular Music 34, no. 3 (2015): 522–25. http://dx.doi.org/10.1017/s0261143015000537.

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12

Haenfler, Ross. "The Entrepreneurial (Straight) Edge: How Participation in DIY Music Cultures Translates to Work and Careers." Cultural Sociology 12, no. 2 (2017): 174–92. http://dx.doi.org/10.1177/1749975517700774.

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Only recently have researchers begun thoroughly examining the role of youth music cultures and subcultures in participants’ ‘adult’ lives, suggesting that participation does not end with an abrupt transition to adulthood. Significantly, how subcultural experience translates into work skills and job opportunities needs further investigation. Based upon interviews and participant observation with older straight edgers – clean-living punks associated with the hardcore music scene – over the course of five years, this article examines subcultural entrepreneurs, in particular straight edgers, who h

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13

Sinungharjo, F. X. "LEKSIKON BIOTIK DI PANGGUNG MUSIK: PERSPEKTIF EKOLINGUISTIK." Sintesis 14, no. 2 (2020): 109–30. http://dx.doi.org/10.24071/sin.v14i2.2675.

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Penelitian ini mendeskripsikan leksikon biotik di panggung musik dari perspektif ekolinguistik. Leksikon tersebut dilihat dari bentuk secara kebahasaan, dianalisis referennya, dan dilihat penggunaannya dalam panggung musik Indonesia. Penelitian ini melalui tiga tahap. Pertama disaring data-data melalui studi pustaka, dikenai teknik rekam catat dan disusun dalam daftar alfabetis, kemudian dicari pula informasi yang menyertai seperti genre dan asal pelaku musik tersebut. Lalu data-data tersebut diolah menggunakan metode padan, baik padan translasional, ortografis, dan padan referensial (Sudaryan

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14

Attfield, Sarah. "Punk Rock and the Value of Auto-ethnographic Writing about Music." PORTAL Journal of Multidisciplinary International Studies 8, no. 1 (2011). http://dx.doi.org/10.5130/portal.v8i1.1741.

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Why do many of the books on punk rock and hardcore punk come with punk attitude? Why are a good number of the books written from a personal perspective? What kind of value do the diary entries of Nils Stevenson in 'Vacant: A Diary of the Punk Years 1976-79' have compared to an article on the rhetoric of class by David Simonelli in the journal 'Contemporary British History'? In some respects scholarly writing on punk rock seems like a contradiction. How can music so rooted in anti-establishment sentiment be appropriated into an institutional setting? The auto-ethnographic approach found in many

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15

Pearson, David M. "Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music." Music Theory Online 25, no. 1 (2019). http://dx.doi.org/10.30535/mto.25.1.5.

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Scholars often assume that there is little more to say about punk music other than it is fast, loud, abrasive, and any amateur can perform it. Yet within the punk scene, there is a robust discourse on punk musical style and the changes it has undergone throughout its now forty-year history, seemingly endless subgenre distinctions, and critical commentary on the musical merits of individual bands. This article combines transcription and analysis with a look at the punk scene’s own discourse on musical style to understand the rhythms, riffs, and timbres of extreme hardcore punk, a subgenre promi

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16

"Hardcore, punk, and other junk: aggressive sounds in contemporary music." Choice Reviews Online 52, no. 02 (2014): 52–0753. http://dx.doi.org/10.5860/choice.52-0753.

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17

Jeziński, Marek, and Łukasz Wojtkowski. "To Grunge or Not to Grunge on the Periphery? The Polish Grunge Scene of the 1990s and the Assimilation of Cultural Patterns." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1479.

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Introduction – Polish GrungeThe main objective of this article is to examine the grunge scene of the 1990s in Poland in the context of acculturation and assimilation processes. Polish grunge was, on the one hand, the expression of trends that were observable in music industry since the late 1980s. On the other hand, it was symptomatic of a rapid systemic transformation. Youth culture was open for the diffusion of cultural patterns and was ready to adopt certain patterns from the West.Thus, we suggest that the local grunge scene was completely modelled on the American one: the flow of cultural

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18

Hoad, Catherine, and Samuel Whiting. "True Kvlt? The Cultural Capital of “Nordicness” in Extreme Metal." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1319.

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IntroductionThe “North” is given explicitly “Nordic” value in extreme metal, as a vehicle for narratives of identity, nationalism and ideology. However, we also contend that “Nordicness” is articulated in diverse and contradictory ways in extreme metal contexts. We examine Nordicness in three key iterations: firstly, Nordicness as a brand tied to extremity and “authenticity”; secondly, Nordicness as an expression of exclusory ethnic belonging and ancestry; and thirdly, Nordicness as an imagined community of liberal democracy.In situating Nordicness across these iterations, we call into focus h

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19

Phillipov, Michelle. "“Just Emotional People”? Emo Culture and the Anxieties of Disclosure." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.181.

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In an article in the Sunday Tasmanian shortly after the deaths of Melbourne teenagers Jodie Gater and Stephanie Gestier in 2007, Tasmanian Catholic Schools Parents and Friends Federation president Bill Button claimed: “Parents are concerned because all of a sudden their child, if they have access to a computer, can turn into an Emo” (qtd. in Vowles 1).For a few months in 2007, the dangers of emo and computer use were significant themes in Australian newspaper coverage. Emo, an abbreviation of the terms “emocore” or “emotional hardcore”, is a melodic subgenre of punk rock music, characterised b

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20

Wark, McKenzie. "Toywars." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2179.

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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ m

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