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Thread: American Hardcore

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    Posting in Dynarama M2's Avatar
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    American Hardcore

    So I finally watched American Hardcore the other night, it's been out for a year.

    As a kid who was plugged into that scene back in the day, I found it a strange bit of nostalgia. Anyway, I had a few thoughts rolling around in my brain and I figured there was a decent number of folks here who have more than a passing familiarity with hardcore and it's unwanted children.

    I'm going to skip right over the anti-establishment stuff and the raw sound and how it seemed like a small, but committed group of kids in every town in America seemed to get infected with the bug for that music - essentially the stuff I liked about it - and go straight to the things that annoyed me about hardcore that I thought got glossed over in the film.

    1. Women - There was a small mention in the film of the lack of women in the scene, but it only scratched the surface of the misogyny that ran rampant. Bands went out of their way to put targets on women. It wasn't every band, but a good number of them did it either in songs or in between songs at the show. Most importantly no one ever much told them to quit it. There's a spot in the movie with Jack Grisham from TSOL which, for me, perfectly sums up what kind attitude a lot of the guys in the scene had. My take is it's really hard to claim you were standing up for something better when you've gone out of your way to alienate and denigrate an entire sex.

    2. Violence - The film romanticized the violence you had at the shows. There was a lengthy dive into how the cops unfairly invaded shows and while that probably happened a bit in southern California, I suspect a lot of times cops saw what I did at those shows. Hardcore became a meathead fight club, which would have been fine except not everyone came to the shows for good time fisticuffs. The women, who got punched a lot if they got near the pit, surely led the list, but there was a second group that took a bigger shellacking - kids.

    Hardcore famously played all ages shows. It was late model Baby Boomers who founded the movement, but almost immediately it began to pick up fans among newly-minted Gen X teenagers. I was one of them and I can tell you from experience that the pits were predatory - the smallest folks in there were abuse magnets (DC was the worst as far as the east coast went). And it wasn't a misguided initiation thing where a kid who took his/her lumps got accepted into the group, it was a thrashing every time out until you could fend them off.

    To my thinking, this is what killed hardcore. First, it drove away a lot of kids who liked it and it drove them right into the arms of heavy metal and eventually thrash metal. Say what you will about the metal subculture, but it's fairly welcoming. Hardcore would hand you an unrelenting beatdown. Metal wanted to party with you. Hell, there were even women in the metal scene, easy women at that. So hardcore ate its young. Second, those kids who outlasted the beatings tended to be the extra scary sort. They were dangerous and stuck with sometimes because they were counting down the days until they could hand out the abuse. So when the Boomer punks got a little older, a little softer and a little more laissez-faire there weren't that many kids left to keep it going and those that were there were sociopaths who were handing out some serious payback on their elders.

    There's no doubt in my mind about it, violence killed hardcore.

    Conformity - The strangest thing about the movement was its enforced conformity. Here was a whole tribe praising individuality, but enforcing uniformity with fanatical discipline. You had to have your hair cut a certain way. You had to wear certain clothes. You were expected to think a certain way, act a certain way and adorn the walls of your room a certain way. You were expected to flame out in school because that was your badge, the way a kid could prove he was real and not fake. I went to high school in western Connecticut (Vatican Commandos country) and it was almost completely fashion punks in the scene. To be fair, it was less violent and less misogynistic than other places because it was mostly rich kids playing dress up, but you were in for a night of nasty comments and looks if you didn't come to a show dressed in uniform.

    4. Music - There was some serious talent in the movement. Bad Brains and Black Flag were brilliant bands, as good as any on the planet in the early 1980s. Big Black, Hüsker Dü and the Misfits all had sounds unlike anyone else on the planet. Yet, along with the enforced look of hardcore, there was an enforced sound too. You weren't allowed to sing too well. When bands pushed the boundaries -- like Bad Brains with I against I and Hüsker Dü with New Day Rising -- they risked being called sellouts.

    There was a disdain for anything that had come before hardcore. This included bands like the Ramones, who should have been revered by the hardcore scene, but had to scratch out a living outside of it for the most part. In the film someone even notes how great it was that hardcore didn't borrow anything from "black" music. Is that great? Is that something you ought to be bragging about? English punks were deeply affected by world beat sounds, but American hardcore didn't have the good sense to incorporate delta blues or funk or rap. There's only so far you can take a sound that refuses to grow, to build on other sounds.

    Racism and militance - A lot of excuses get made for the casual racism of the scene in its heyday. Fine, it was a bunch of white suburban kids horrified by the sell out of the Love Generation and by the seamy underside of the American dream. That's well-placed horror. Yet the militant reaction created its own conformity (as noted above). That militance made women one of "them" in many cases. Kids, even those who wore the uniform, were treated like punching bags. Well you can imagine how well blacks fit into the mix. They looked different, they dressed different, they spoke a little different, they came from different towns or different parts of town, they listened to music outside the hardcore coda. The folks in the hardcore scene never set out to build a racist movement, but they put up so many walls that few blacks ever bothered to climb them.

    And the racists took notice.

    What did hardcore bottle up? It bottled up fast, aggressive music. It bottled up anti-establishment furor. It's bottled up violent, young, white males who were willing to conform to doctrine. It bottled up disenfranchisement and iconography too. Basically it bottled up a ready-made Storm Division and militant racists took notice. Those überviolent kids who survived the beatings from their punks elders, who fled the scene in the mid-1980s, were left looking for something and in walked the white power nutters offering a way to channel all that pent up aggression into something organized and "pure." If only there had been more Steve Albinis to shout out about it and fewer Keith Morrises content to play for paying skinheads, maybe hardcore wouldn't have turned into new fascisms greatest recruitment tool, but there weren't and it did.

    Legacy - The film mentions how Boston's Gang Green came up with the idea for what these days is the Warped Tour - a punk show with extreme sports mixed in. It was a great idea back then too and it surely would have made money if so many kids literally hadn't been chased away. The scene had devoured its young and basically starved to death. Then there was about a five year void until some Gen X bands were able to revive what they liked about hardcore, build on it and plug into a new scene without the militance, misogyny and xenophobia. It rebuilt quickly too, reaching the point in 1995 where Eric Bachmann from Archers of Loaf noted "the underground is overcrowded."

    Of course, in true form, those from the early scene are reliably bitter about that. You don't see this in other forms of music. I'll refer to metal again. Older metal bands are hailed as icons and they in turn having nothing but enthusiasm for all the kids who've taken what they did and move it forward. The guys from Black Sabbath and Judas Priest rightfully feel like they've built something lasting. Guys from hardcore bands? In the film they grouse about how punk is dead and anyone who thinks they're a punk should cease and desist. Oddly, there's probably more kids in the punk scene now than there ever were in the hardcore heyday. Gang Green's Chris Doherty, one of the worst humans on the planet, whines about how all these kids are making money off of what he and his peers built. Well, not really Chris. You burned it down and it had to be rebuilt. It's guys like Mike Ness and Ian Mackaye who stuck through the lean years and found a new, more diverse sounds that deserve godfather status.

    In the end American Hardcore was less of a fond trip down memory lane for me and more of a reminder that the good, old days left something to be desired. I'm curious what others thought of the film or what they remember from the original hardcore scene.
    Baseball isn't a magic trick ... it doesn't get spoiled if you figure out how it works. - gonelong

    I'm witchcrafting everybody.

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  3. #2
    2009: Fail Ltlabner's Avatar
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    Re: American Hardcore

    Holy crap.

    That is WAY too much work to simply rock out to a record.

    I don't care for any musical format that requires that much thought and analyisis. I guess I'm a hammer-head, but I want a good beat that I can dance to. Beyond that, I leave my critical thinking to the workplace.
    a super volcano of ridonkulous suckitude.

    I simply don't have access to a "cares about RBI" place in my psyche. There is a "mildly curious about OBI%" alcove just before the acid filled lake guarded by robot snipers with lasers which leads to the "cares about RBI" antechamber though. - Nate

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    Re: American Hardcore

    Quote Originally Posted by M2 View Post
    So I finally watched American Hardcore the other night, it's been out for a year.

    As a kid who was plugged into that scene back in the day, I found it a strange bit of nostalgia. Anyway, I had a few thoughts rolling around in my brain and I figured there was a decent number of folks here who have more than a passing familiarity with hardcore and it's unwanted children.

    I'm going to skip right over the anti-establishment stuff and the raw sound and how it seemed like a small, but committed group of kids in every town in America seemed to get infected with the bug for that music - essentially the stuff I liked about it - and go straight to the things that annoyed me about hardcore that I thought got glossed over in the film.

    1. Women - There was a small mention in the film of the lack of women in the scene, but it only scratched the surface of the misogyny that ran rampant. Bands went out of their way to put targets on women. It wasn't every band, but a good number of them did it either in songs or in between songs at the show. Most importantly no one ever much told them to quit it. There's a spot in the movie with Jack Grisham from TSOL which, for me, perfectly sums up what kind attitude a lot of the guys in the scene had. My take is it's really hard to claim you were standing up for something better when you've gone out of your way to alienate and denigrate an entire sex.

    2. Violence - The film romanticized the violence you had at the shows. There was a lengthy dive into how the cops unfairly invaded shows and while that probably happened a bit in southern California, I suspect a lot of times cops saw what I did at those shows. Hardcore became a meathead fight club, which would have been fine except not everyone came to the shows for good time fisticuffs. The women, who got punched a lot if they got near the pit, surely led the list, but there was a second group that took a bigger shellacking - kids.

    Hardcore famously played all ages shows. It was late model Baby Boomers who founded the movement, but almost immediately it began to pick up fans among newly-minted Gen X teenagers. I was one of them and I can tell you from experience that the pits were predatory - the smallest folks in there were abuse magnets (DC was the worst as far as the east coast went). And it wasn't a misguided initiation thing where a kid who took his/her lumps got accepted into the group, it was a thrashing every time out until you could fend them off.

    To my thinking, this is what killed hardcore. First, it drove away a lot of kids who liked it and it drove them right into the arms of heavy metal and eventually thrash metal. Say what you will about the metal subculture, but it's fairly welcoming. Hardcore would hand you an unrelenting beatdown. Metal wanted to party with you. Hell, there were even women in the metal scene, easy women at that. So hardcore ate its young. Second, those kids who outlasted the beatings tended to be the extra scary sort. They were dangerous and stuck with sometimes because they were counting down the days until they could hand out the abuse. So when the Boomer punks got a little older, a little softer and a little more laissez-faire there weren't that many kids left to keep it going and those that were there were sociopaths who were handing out some serious payback on their elders.

    There's no doubt in my mind about it, violence killed hardcore.

    Conformity - The strangest thing about the movement was its enforced conformity. Here was a whole tribe praising individuality, but enforcing uniformity with fanatical discipline. You had to have your hair cut a certain way. You had to wear certain clothes. You were expected to think a certain way, act a certain way and adorn the walls of your room a certain way. You were expected to flame out in school because that was your badge, the way a kid could prove he was real and not fake. I went to high school in western Connecticut (Vatican Commandos country) and it was almost completely fashion punks in the scene. To be fair, it was less violent and less misogynistic than other places because it was mostly rich kids playing dress up, but you were in for a night of nasty comments and looks if you didn't come to a show dressed in uniform.

    4. Music - There was some serious talent in the movement. Bad Brains and Black Flag were brilliant bands, as good as any on the planet in the early 1980s. Big Black, Hüsker Dü and the Misfits all had sounds unlike anyone else on the planet. Yet, along with the enforced look of hardcore, there was an enforced sound too. You weren't allowed to sing too well. When bands pushed the boundaries -- like Bad Brains with I against I and Hüsker Dü with New Day Rising -- they risked being called sellouts.

    There was a disdain for anything that had come before hardcore. This included bands like the Ramones, who should have been revered by the hardcore scene, but had to scratch out a living outside of it for the most part. In the film someone even notes how great it was that hardcore didn't borrow anything from "black" music. Is that great? Is that something you ought to be bragging about? English punks were deeply affected by world beat sounds, but American hardcore didn't have the good sense to incorporate delta blues or funk or rap. There's only so far you can take a sound that refuses to grow, to build on other sounds.

    Racism and militance - A lot of excuses get made for the casual racism of the scene in its heyday. Fine, it was a bunch of white suburban kids horrified by the sell out of the Love Generation and by the seamy underside of the American dream. That's well-placed horror. Yet the militant reaction created its own conformity (as noted above). That militance made women one of "them" in many cases. Kids, even those who wore the uniform, were treated like punching bags. Well you can imagine how well blacks fit into the mix. They looked different, they dressed different, they spoke a little different, they came from different towns or different parts of town, they listened to music outside the hardcore coda. The folks in the hardcore scene never set out to build a racist movement, but they put up so many walls that few blacks ever bothered to climb them.

    And the racists took notice.

    What did hardcore bottle up? It bottled up fast, aggressive music. It bottled up anti-establishment furor. It's bottled up violent, young, white males who were willing to conform to doctrine. It bottled up disenfranchisement and iconography too. Basically it bottled up a ready-made Storm Division and militant racists took notice. Those überviolent kids who survived the beatings from their punks elders, who fled the scene in the mid-1980s, were left looking for something and in walked the white power nutters offering a way to channel all that pent up aggression into something organized and "pure." If only there had been more Steve Albinis to shout out about it and fewer Keith Morrises content to play for paying skinheads, maybe hardcore wouldn't have turned into new fascisms greatest recruitment tool, but there weren't and it did.

    Legacy - The film mentions how Boston's Gang Green came up with the idea for what these days is the Warped Tour - a punk show with extreme sports mixed in. It was a great idea back then too and it surely would have made money if so many kids literally hadn't been chased away. The scene had devoured its young and basically starved to death. Then there was about a five year void until some Gen X bands were able to revive what they liked about hardcore, build on it and plug into a new scene without the militance, misogyny and xenophobia. It rebuilt quickly too, reaching the point in 1995 where Eric Bachmann from Archers of Loaf noted "the underground is overcrowded."

    Of course, in true form, those from the early scene are reliably bitter about that. You don't see this in other forms of music. I'll refer to metal again. Older metal bands are hailed as icons and they in turn having nothing but enthusiasm for all the kids who've taken what they did and move it forward. The guys from Black Sabbath and Judas Priest rightfully feel like they've built something lasting. Guys from hardcore bands? In the film they grouse about how punk is dead and anyone who thinks they're a punk should cease and desist. Oddly, there's probably more kids in the punk scene now than there ever were in the hardcore heyday. Gang Green's Chris Doherty, one of the worst humans on the planet, whines about how all these kids are making money off of what he and his peers built. Well, not really Chris. You burned it down and it had to be rebuilt. It's guys like Mike Ness and Ian Mackaye who stuck through the lean years and found a new, more diverse sounds that deserve godfather status.

    In the end American Hardcore was less of a fond trip down memory lane for me and more of a reminder that the good, old days left something to be desired. I'm curious what others thought of the film or what they remember from the original hardcore scene.
    I haven't seen the film, but that is an interesting analysis, M2. I think I'm a few years behind you when it comes to that scene and I think your points sum up why I never really went whole hog into hardcore. I loved punk rock, but it was merely one genre in which my musical tastes ran. I had friends who "bought in" to the whole hardcore scene and would wear the uniform, but I could never go that far. I liked the music, but I didn't want to have anything to do with the violent attitudes and demand for conformity that went with it. By the time I was in high school, the scene was definitely dominated by skinheads. It was a bit intimidating when you would be browsing that section of the record store only to have skinheads wearing pilot jackets covered in swastikas and rebel flags looking at the same stuff. I wasn't about to go to a show for fear that I was going to get my butt kicked by these meatheads. Plus I felt like, if some of these bands were cool with that kind of crowd, they didn't want me around. So I was content to stay at home and listen to the Dead Kennedys, Black Flag, and the Descendants on my boombox in my room as a closet fan and go to REM shows without fear of coming home with a black eye or a broken rib.

    However, I wouldn't say that metal bands are cool with their legacy. I seem to remember a "Where are they now" show about the hair metal bands of the late '80s and some of them, especially Lita Ford, were incredibly bitter about how popular music tastes changed in the early '90s to make Grunge popular. Ford herself seemed to hold Kurt Cobain responsible for killing "real" rock and roll. Others seemed kind of ticked off that they used to play arenas and are now relegated to the county fair circuit.
    Burn down the disco. Hang the blessed DJ. Because the music that he constantly plays, it says nothing to me about my life.

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    Churlish Johnny Footstool's Avatar
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    Re: American Hardcore

    Quote Originally Posted by M2 View Post
    It's guys like Mike Ness and Ian Mackaye who stuck through the lean years and found a new, more diverse sounds that deserve godfather status.
    I always liked Ian Mackaye. Then I heard about this.

    http://www.youtube.com/watch?v=YhNbaMJNA50

    Now I worship the man.
    "I prefer books and movies where the conflict isn't of the extreme cannibal apocalypse variety I guess." Redsfaithful

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    Re: American Hardcore

    Quote Originally Posted by Yachtzee View Post
    I haven't seen the film, but that is an interesting analysis, M2. I think I'm a few years behind you when it comes to that scene and I think your points sum up why I never really went whole hog into hardcore. I loved punk rock, but it was merely one genre in which my musical tastes ran. I had friends who "bought in" to the whole hardcore scene and would wear the uniform, but I could never go that far. I liked the music, but I didn't want to have anything to do with the violent attitudes and demand for conformity that went with it. By the time I was in high school, the scene was definitely dominated by skinheads. It was a bit intimidating when you would be browsing that section of the record store only to have skinheads wearing pilot jackets covered in swastikas and rebel flags looking at the same stuff. I wasn't about to go to a show for fear that I was going to get my butt kicked by these meatheads. Plus I felt like, if some of these bands were cool with that kind of crowd, they didn't want me around. So I was content to stay at home and listen to the Dead Kennedys, Black Flag, and the Descendants on my boombox in my room as a closet fan and go to REM shows without fear of coming home with a black eye or a broken rib.

    However, I wouldn't say that metal bands are cool with their legacy. I seem to remember a "Where are they now" show about the hair metal bands of the late '80s and some of them, especially Lita Ford, were incredibly bitter about how popular music tastes changed in the early '90s to make Grunge popular. Ford herself seemed to hold Kurt Cobain responsible for killing "real" rock and roll. Others seemed kind of ticked off that they used to play arenas and are now relegated to the county fair circuit.
    You had a sane reaction to the bully boys of the movement. It's amazing how a a genre forced its own would-be fans into the closet. You don't see that too often.

    I remember the Lita Ford interview you're talking about. To her credit, she wasn't complaining about about her musical descendants, rather a rival tribe. If anything she was begging for descendants, people to pick up her legacy and get her own the county fair circuit.
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    Re: American Hardcore

    Quote Originally Posted by M2 View Post
    I remember the Lita Ford interview you're talking about. To her credit, she wasn't complaining about about her musical descendants, rather a rival tribe. If anything she was begging for descendants, people to pick up her legacy and get her own the county fair circuit.
    Well, she only has herself to blame for her lack of musical descendants. I found hair metal to be fun and entertaining in the mid-to-late '80s and actually owned a Twisted Sister cassette. The problem with the Lita Fords and the like was that they bought into a formula for making music that got tired quickly. When you know that every song on a band's album is going to be around 3 minutes log, have an overcomplicated guitar solo 2/3 of the way through, and that the first single off the album will be a rocker and the second will be a ballad. It's hard to set yourself apart when everyone else is doing the same thing. And Ford's single "Kiss Me Deadly" is a prime example of a mediocre song written to a formula and thrown out there just to cash in. But that's probably a discussion for another thread.

    As far as hardcore goes, I think there are quite a few guys (and women) my age who liked some hardcore, but just didn't want to be involved in the scene.

    One interesting note is that, when I lived in Austria, hardcore punk seemed to be very much the bastion of the left-thinking youth. Very anti-fascist, pro-anarchist/communist/socialist and anti-government. The right-wing skinheads actually preferred metal, or get this, rockabilly. There was a scene involving kids who had extreme right views who latched onto rockabilly and the confederate flag because nazi imagery and symbols are illegal over there. So they coopted what they view to be the culture of the US South as exemplifying their beliefs.
    Burn down the disco. Hang the blessed DJ. Because the music that he constantly plays, it says nothing to me about my life.

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    Re: American Hardcore

    I think you hit on it M2: hardcore had the seed of its own destruction buried in the soil it proclaimed reap. Its form was meant to collapse on itself. Truly, the genre was about destruction, not fecundity (hippie music), screwing (R&B, Rolling Stones, etc), or artful distance and disenfranchisement (metal). It morphed so readily into latter era Black Flag, Fugazi, and eventually emo, indie, and postrock because the aesthetic had nothing to latch onto within its own circumscribed dicta. Too exclusive.

    In the end, rock, in all its forms, deals with two things, simultaneously: sex and frustration. Punk weeded out the first part, and that's a problem.

    Also, I actually think what separated the metal crowd from the hardcore crowd was frequently class. The hardcore kids were a bunch of disaffected sons of middle managers. The metal kids' fathers and mothers worked in the factories.

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    Re: American Hardcore

    Quote Originally Posted by Yachtzee View Post
    Well, she only has herself to blame for her lack of musical descendants. I found hair metal to be fun and entertaining in the mid-to-late '80s and actually owned a Twisted Sister cassette. The problem with the Lita Fords and the like was that they bought into a formula for making music that got tired quickly. When you know that every song on a band's album is going to be around 3 minutes log, have an overcomplicated guitar solo 2/3 of the way through, and that the first single off the album will be a rocker and the second will be a ballad. It's hard to set yourself apart when everyone else is doing the same thing. And Ford's single "Kiss Me Deadly" is a prime example of a mediocre song written to a formula and thrown out there just to cash in. But that's probably a discussion for another thread.
    Totally agreed. She and Joan Jett sure took different avenues after the Runaways. Now one's got respect in the business and the other's begging for profitable sentimentality.

    Quote Originally Posted by Yachtzee View Post
    One interesting note is that, when I lived in Austria, hardcore punk seemed to be very much the bastion of the left-thinking youth. Very anti-fascist, pro-anarchist/communist/socialist and anti-government. The right-wing skinheads actually preferred metal, or get this, rockabilly. There was a scene involving kids who had extreme right views who latched onto rockabilly and the confederate flag because nazi imagery and symbols are illegal over there. So they coopted what they view to be the culture of the US South as exemplifying their beliefs.
    That is interesting. Certainly the folks who started the hardcore movement in America envisioned it being something akin to what you saw in Austria. Yet the lesson is that if you act like a skinhead thug then you'll probably find yourself swamped with skinhead thugs.
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    Re: American Hardcore

    Quote Originally Posted by Falls City Beer View Post
    I think you hit on it M2: hardcore had the seed of its own destruction buried in the soil it proclaimed reap. Its form was meant to collapse on itself. Truly, the genre was about destruction, not fecundity (hippie music), screwing (R&B, Rolling Stones, etc), or artful distance and disenfranchisement (metal). It morphed so readily into latter era Black Flag, Fugazi, and eventually emo, indie, and postrock because the aesthetic had nothing to latch onto within its own circumscribed dicta. Too exclusive.

    In the end, rock, in all its forms, deals with two things, simultaneously: sex and frustration. Punk weeded out the first part, and that's a problem.

    Also, I actually think what separated the metal crowd from the hardcore crowd was frequently class. The hardcore kids were a bunch of disaffected sons of middle managers. The metal kids' fathers and mothers worked in the factories.
    Great observations, particularly hardcore's asexuality. When you lose sex you lose civilization.
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    Re: American Hardcore

    Quote Originally Posted by M2 View Post
    Great observations, particularly hardcore's asexuality. When you lose sex you lose civilization.
    So straight edge is to blame?
    Burn down the disco. Hang the blessed DJ. Because the music that he constantly plays, it says nothing to me about my life.

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    Re: American Hardcore

    Quote Originally Posted by Yachtzee View Post
    So straight edge is to blame?
    To paraphrase Adam Ant: Don't drink, don't smoke, don't mate, what do you do?
    Baseball isn't a magic trick ... it doesn't get spoiled if you figure out how it works. - gonelong

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    Re: American Hardcore

    Quote Originally Posted by Ltlabner View Post
    Holy crap.

    That is WAY too much work to simply rock out to a record.

    I don't care for any musical format that requires that much thought and analyisis. I guess I'm a hammer-head, but I want a good beat that I can dance to. Beyond that, I leave my critical thinking to the workplace.
    Those were my thoughts exactly.
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    Re: American Hardcore

    Wow. I feel...young. And kinda stupid.

    That was a great read. M2, You should write about music or something, if you don't already (off message boards, I mean).
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    Re: American Hardcore

    Great post M2.

    And some really interesting insights from everyone else.

    I was never into hardcore but I truly loved Bad Brains "I against I" and Husker Du back in the day. In fact, I still do, although I suspect that those bands aren't necessarily representative of hardcore in general.
    Get your nunchucks and the keys to your dad's car. I know where we can get a gun

  16. #15
    Member
    Join Date
    May 2000
    Location
    The Bush Leagues
    Posts
    9,158

    Re: American Hardcore

    Echo -- great post. I mostly stayed away as well. One show I went to a girl hit me in the face for asking for a light and then a kid got stabbed in the ass.

    The problem with a lot of the hardcore bands is they didn't know exactly what they were angry about. I latched onto Husker Du and welcomed the slow-core bands.
    The widow is gathering nettles for her children's dinner; a perfumed seigneur, delicately lounging in the Oeil de Boeuf, hath an alchemy whereby he will extract the third nettle and call it rent. ~ Carlyle


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