378:(with Ian MacKaye and members of the Faith). Rites of Spring has been described as the band that "more than led the change", challenging the "macho posturing that had become so prevalent within the punk scene at that point", and "more importantly", defying "musical and stylistic rule". Journalist Steve Huey writes that while the band "strayed from hardcore's typically external concerns of the time – namely, social and political dissent – their musical attack was no less blistering, and in fact a good deal more challenging and nuanced than the average three-chord speed-blur", a sound that, according to Huey, mapped out "a new direction for hardcore that built on the innovations" brought by
292:
338:" in the summer of 1985. This movement was led by bands associated with Dischord Records. According to the Dischord website: "The violence and nihilism that had become identified with punk rock, largely by the media, had begun to take hold in DC and many of the older punks suddenly found themselves repelled and discouraged by their hometown scene," leading to "a time of redefinition." During these years, a new wave of bands started to form, including
38:
473:, has also been "generally" regarded as a classic. Fugazi garnered recognition for their activism, cheaply priced shows and CDs, and their resistance to mainstream outlets. On the other hand, Jawbox had been influenced by "the tradition of Chicago's thriving early-'80s scene", while The Nation of Ulysses are "best remembered for lifting the motor-mouthed revolutionary rhetoric of the
217:. Bad Brains, who were the first hardcore punk band to form on the east coast of the United States, would influence a wave of new, more aggressive sounding bands in the city. One such band was the Slinkees. Despite the Slinkees only performing live once, three of their members would go on to form the Teen Idles in September 1979. The Teen Idles' 1980 EP
1318:
Well, first of all, I don't recognize that attribution. I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly,
149:
The
Atlantis, located in the rear room of the Atlantic Building's ground floor at 930 F Street NW, was a short-lived venue, but was significant in the development of the punk scene. The first D.C. venue to host primarily punk and new wave bands, the Atlantis' first punk concert featured the Slickee
234:
Minor Threat profoundly influenced the hardcore punk genre, their contributions to the music, ethics, aesthetics, and ethos widely acknowledged by other hardcore bands. The band used faster rhythms and more aggressive, less melodic riffs than was common at the time. Minor Threat inspired the
405:, would come up in discussions around the D.C. area. While some of these bands have been considered contributors to the birth of emo, with Rites of Spring sometimes being named as the first or one of the earliest emo acts, musicians such as the band's former frontman
439:, a release that documented the new sound of the late 1980s D.C. punk scene. Fugazi gained "an extremely loyal and numerous global following", with reviewer Andy Kellman summarizing the band's influence with the statement: "To many, Fugazi meant as much to them as
271:
The tradition of holding all ages shows at small D.I.Y. spaces, has roots in the early
Washington, D.C., straight edge movement. It emerged from the idea that people of all ages should have access to music, regardless of if they're old enough to drink alcohol.
508:, is responsible for the distribution of a multitude of D.C. hardcore records, both early and current. As a result of Dischord's prominence, very few D.C.-based bands who were not on Dischord have received much attention from outside of the D.C. metro area.
91:. The station was run under little supervision from the university administration, and therefore became a voice in the early 1970s for cultural radicalism that had faded since the end of the 1960s.
1164:
The recordings, which revealed the influence of early-D.C. punk ('Gray Matter', 'Caffeine Blues'), also warned about the dangers of punk nostalgia ('Retrospect') and featured a surprising cover of
327:
writer Steve Huey described their music as "hint at what was to come, softening the standard-issue hardcore approach somewhat with better-developed melodies and a more inward-looking perspective"
150:
Boys, Urban Verbs, and White Boy on
January 27, 1978. By early 1979, the Atlantis had closed, but the space would reopen under new ownership on May 31, 1980, as the Nightclub 9:30—soon known as
334:, who worked at Dischord records, proposed a concept to a number of musicians, which would entail a "re-birthing" the D.C. hardcore scene in the mid-1980s. This took shape under the name "
433:. MacKaye described this period as the busiest that the Dischord Records label had ever seen. Most of these acts, along with earlier ones, would contribute to the 1989 compilation
395:
According to Eric Grubbs, a nickname was developed for the new sound, with some considering it "post-hardcore", but another name that floated around the scene was "
253:
compilation, released in
January 1982, was a seminal document of the early 1980s D.C. hardcore scene. The record label was run out of the Dischord House, an
887:
2094:
1238:
778:
1055:
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17:
1740:
268:, grew up in Washington, D.C., and was influenced by the music of Bad Brains and the bands of his childhood friend, Ian MacKaye.
1319:
I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that – what, like the
1708:
1344:
970:
800:
485:" combined with "exciting, volatile live gigs", and being the inspiration for "a new crop of bands both locally and abroad".
202:
871:
Bray, R., & Comaratta, L. (May 19, 2014). All access: An oral history of DC's 9:30 Club. Retrieved March 1, 2021, from
777:
Robb, John. "Are Minor Threat One of the Most
Influential Bands of the Last Thirty Years?" Louder Than War, July 13, 2011,
1590:
1271:
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223:
was the earliest non-single release in the D.C. hardcore scene. The group broke up in
November 1980, and band members
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138:, all of which helped lay the foundation for the larger scene to come. Also crucial to the scene was the founding of
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243:", which spoke out against alcohol, drugs and promiscuity. MacKaye and Nelson ran their own record label,
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did to their parents." The band, which included MacKaye, Picciotto, and former Rites of Spring drummer
435:
363:
254:
158:
779:
http://louderthanwar.com/are-minor-threat-one-of-the-most-influential-band-for-the-last-thirty-years/
536:
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EPs, which is now considered a landmark album. Similarly, the band's debut full-length album, 1990's
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31:
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2003:
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in 1983, it marked a critical evolution in the sound of D.C. hardcore and punk music in general.
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Drawing from funk as much as punk, Beefeater cooks up a groovy combination on their debut album.
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1983:
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weren't emotional? What – they were robots or something? It just doesn't make any sense to me.
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The second half of the 1980s saw the formation of several bands in D.C., which included
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702:
347:
247:, which released records by D.C. hardcore bands, commonly referred to as harDCore. The
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Our band could be your life : scenes from the
American rock underground 1981-1991
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261:
260:. Henry Rollins, who would come to prominence as lead singer of the California-based
219:
139:
87:
became a key location due to its heavy student population and student radio station,
118:
and
Overkill, who were soon joined by the Look, the Controls, the Razz , White Boy,
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1993:
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Emerging in late 1979, it is considered one of the first and most influential punk
64:
1612:
This Was My Night and This Was a Lot of Other Nights: Day After Day D.C. 2005-2013
1212:
851:
Our Band Could Be Your Life: Scenes from the
American Indie Underground, 1981–1991
820:
Our Band Could Be Your Life: Scenes from the
American Indie Underground, 1981–1991
392:(as in the case of Beefeater) and 1960s pop (such as the example of Gray Matter).
134:, released several of the earliest D.C. punk singles, as well as the compilation,
2124:
2114:
2019:
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Punk in Washington, D.C., found its origins in the district's former centers of
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1978:
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Among the earliest Washington, D.C., punk bands formed in the early 1980s were
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873:
https://consequence.net/2014/05/all-access-an-oral-history-of-dcs-930-club/2/
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388:. Other bands have been perceived as taking inspiration from genres such as
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146:. The studio would soon produce records for both the Look and Urban Verbs.
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127:
100:
99:-inclusive community, also became important, as well as socially-restless
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1389:"State of the Union: D.C. Benefit Compilation – Various Artists – Review"
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675:"I want something new: Limp Records and the birth of DC punk, 1976‐80"
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520:(2019) – documentary directed by James June Schneider and Paul Bishow
448:
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355:
154:—and serve as an important part of the D.C. punk scene's foundation.
151:
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and MacKaye himself have voiced their opposition against the term.
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was in multiple pioneering post-hardcore bands from D.C. including
37:
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2109:
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430:
422:
303:
1626:
Hurchalla, George (Zuo Press, 2005). "Wild in the Streets".
231:
quickly formed Minor Threat, who debuted in December 1980.
1609:
Follos, Tim; Mohammed, Hussain (Day After Day D.C., 2015).
389:
367:
96:
88:
1568:
Dance of Days: Two Decades of Punk in the Nation's Capital
635:
Dance of Days: Two Decades of Punk in the Nation's Capital
595:
Dance of Days: Two Decades of Punk in the Nation's Capital
2104:
1878:
1675:
474:
396:
954:
POST: A Look at the Influence of Post-Hardcore-1985-2007
533:, a punk activist organization based in Washington, D.C.
399:-core". The latter, mentioned in skateboarding magazine
106:
Washington, D.C., first saw touring punk bands such as
1172:' was the first hint of the band's strong pop streak.
588:
586:
584:
1525:
817:
628:
626:
581:
2095:List of musicians in the second wave of punk rock
1588:(2001). "Minor Threat & DC: Flex Your Head".
2148:
1709:"Salad Days: The DC Punk Revolution Documentary"
1027:
1025:
1023:
286:
130:, run by record producer and record store owner
1177:
824:. New York: Little, Brown and Company. p.
632:
623:
592:
30:"harDCore" redirects here. For other uses, see
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995:
993:
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989:
1734:
1020:
1415:
1413:
1411:
1409:
633:Andersen, Mark; Jenkins, Mark (2009-01-01).
593:Andersen, Mark; Jenkins, Mark (2009-01-01).
1615:. Second ed., 2016. Esther Mountain Press.
1080:
986:
555:
553:
551:
1741:
1727:
1628:Going Underground: American Punk 1979–1989
1263:
882:
880:
412:
95:, becoming more known for its diverse and
1465:
1406:
946:
944:
942:
940:
477:" with the incorporation of "elements of
1056:"Faith Subject to Change and First Demo"
548:
290:
36:
1523:
1300:
1120:"Plays for Lovers – Beefeater – Review"
877:
815:
668:
666:
27:Hardcore punk scene of Washington, D.C.
14:
2149:
1683:D.C. Punk and Indie Fanzine collection
1656:Norton, Justin M. (October 17, 2012).
1361:"Various Artists – State of the Union"
1269:
950:
937:
560:Norton, Justin M. (October 17, 2012).
559:
1722:
1334:
1272:"The 90-Minute Guide – Post-Hardcore"
1048:
790:
672:
1230:
1064:. September 26, 2011. Archived from
663:
1591:American Hardcore: A Tribal History
1471:
1445:
1439:
1419:
1386:
1117:
1031:
24:
1557:
1236:
1183:
1146:
854:. Little Brown and Company, 2001.
488:
481:(as filtered through the MC5) and
25:
2173:
1748:
1658:"13 Essential DC Hardcore Albums"
1650:
562:"13 Essential DC Hardcore Albums"
457:, a compilation of their earlier
122:, the Shirkers, the Penetrators,
55:, sometimes styled in writing as
1696:University of Maryland Libraries
1687:University of Maryland Libraries
1497:
1091:
362:of Minor Threat with members of
275:
2070:List of hardcore punk subgenres
1707:Reveron, Sean (July 27, 2012).
1524:Azzerad, Michael (2001-01-01).
1517:
1491:
1380:
1353:
1328:
1294:
1270:Terich, Jeff (April 24, 2007).
1205:
1140:
1111:
910:
865:
842:
2127:(includes section on hardcore)
1186:"Post-Hardcore – A Definition"
809:
784:
771:
747:
713:
13:
1:
1094:"Rites of Spring – Biography"
673:Davis, John R. (2020-06-01).
542:
342:, Lunchmeat (later to become
287:Origins and Revolution Summer
1671:"The State Of D.C. Hardcore"
1669:Knox, Ron (March 14, 2016).
1448:"13 Songs – Fugazi – Review"
7:
2065:List of hardcore punk bands
1711:(trailer and photo essay).
524:
350:, Mission Impossible (with
264:, as well as his own later
114:that year with groups like
10:
2178:
888:"Subject to Change 12" EP"
364:Bloody Mannequin Orchestra
354:who later joined Scream),
279:
74:
51:, commonly referred to as
49:Washington, D.C., hardcore
29:
2162:Music of Washington, D.C.
2057:
2012:
1961:
1954:
1756:
1303:"Guy Picciotto interview"
1149:"Gray Matter – Biography"
918:"All Music Bio the Faith"
816:Azerrad, Michael (2001).
537:Music of Washington, D.C.
366:and Shawn Brown later in
124:Tru Fax and the Insaniacs
32:Hardcore (disambiguation)
18:Washington, D.C. hardcore
1566:; Jenkins, Mark (2001).
1339:. Sterling. p. 97.
1337:The Encyclopedia of Punk
793:The Encyclopedia of Punk
239:movement with its song "
1500:"The Nation of Ulysses"
965:, Inc. pp. 22–28.
511:
413:Subsequent developments
41:Washington, D.C., band
1301:Prindle, Mark (2003).
1239:"This is UKHC, Not LA"
795:. New York: Sterling.
306:
142:by recording engineer
71:in the United States.
45:
1891:Progressive metalcore
1676:National Public Radio
1335:Cogan, Brian (2008).
951:Grubbs, Eric (2008).
791:Cogan, Brian (2008).
427:the Nation of Ulysses
294:
110:in 1976. D.C.'s punk
85:Georgetown University
40:
2157:Hardcore punk genres
1692:D.C. Punk collection
1630:. Second ed., 2016.
1594:. Second ed., 2010.
1474:"Jawbox – Biography"
1422:"Fugazi – Biography"
1068:on December 17, 2011
898:on December 17, 2014
691:10.1386/punk_00030_1
679:Punk & Post Punk
81:1960s counterculture
1646:. pp. 105–111.
1606:. pp. 149–176.
892:Kill from the Heart
729:New York University
504:, both formerly of
496:, owned and run by
447:along with bassist
255:Arlington, Virginia
136::30 Over Washington
1779:Christian hardcore
1251:on January 5, 2013
1034:"Dischord History"
848:Azerrad, Michael.
735:on January 1, 2009
601:. pp. 14–15.
436:State of the Union
307:
163:the Velvet Monkeys
46:
2144:
2143:
2090:Hardcore skinhead
2053:
2052:
1849:Melodic metalcore
1769:Beatdown hardcore
1532:. Little, Brown.
1346:978-1-4027-5960-4
1147:Foster, Patrick.
1001:"Rites of Spring"
972:978-0-595-51835-7
802:978-1-4027-5960-4
725:homepages.nyu.edu
451:, issued in 1989
336:Revolution Summer
330:Amy Pickering of
320:Subject to Change
317:) put out the EP
220:Minor Disturbance
140:Inner Ear Studios
16:(Redirected from
2169:
2045:Washington, D.C.
1959:
1958:
1844:Melodic hardcore
1814:Digital hardcore
1784:Crossover thrash
1743:
1736:
1729:
1720:
1719:
1572:Soft Skull Press
1552:
1551:
1531:
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1515:
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1366:Dischord Records
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1350:
1332:
1326:
1325:
1315:
1313:
1298:
1292:
1291:
1289:
1287:
1282:on July 17, 2011
1278:. Archived from
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1260:
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1256:
1247:. Archived from
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1061:Drowned in Sound
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1006:Dischord Records
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894:. Archived from
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731:. Archived from
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637:(4th ed.).
630:
621:
620:
597:(4th ed.).
590:
579:
578:
576:
574:
557:
518:Punk the Capital
494:Dischord Records
419:Shudder to Think
245:Dischord Records
207:Government Issue
175:the Untouchables
116:the Slickee Boys
113:
70:
65:Washington, D.C.
21:
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2125:Punk subculture
2115:Punk ideologies
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2008:
1955:Regional scenes
1950:
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1560:
1558:Further reading
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1472:Kellman, Andy.
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1446:Kellman, Andy.
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1420:Kellman, Andy.
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1307:Markprindle.com
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489:Wider influence
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340:Rites of Spring
300:Rites of Spring
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191:Chalk Circle
185:(fronted by
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1931:Street punk
1926:Speed metal
1834:Krishnacore
1809:Death metal
1774:Black metal
1713:Cvlt Nation
1596:Feral House
1166:the Beatles
1036:. p. 2
502:Ian MacKaye
498:Jeff Nelson
459:self-titled
360:Brian Baker
358:(formed by
348:Gray Matter
229:Jeff Nelson
225:Ian MacKaye
120:Urban Verbs
108:the Ramones
2151:Categories
2136:Youth crew
2025:California
2004:Yugoslavia
1946:Thrashcore
1916:Skate punk
1901:Riot grrrl
1869:Pornogrind
1794:Crust punk
1539:0316063797
1321:Bad Brains
1276:Treblezine
1072:August 11,
902:August 11,
763:October 8,
756:Salad Days
543:References
483:avant jazz
385:Zen Arcade
352:Dave Grohl
332:Fire Party
262:Black Flag
258:punk house
167:Bad Brains
159:Iron Cross
132:Skip Groff
43:Bad Brains
2120:Punk rock
2080:DIY ethic
2075:Deathcore
1974:Australia
1969:Argentina
1936:Taqwacore
1896:Queercore
1854:Metalcore
1829:Grindcore
1824:Goregrind
1804:Deathcore
1789:Crunkcore
1663:Stereogum
1509:March 20,
1483:March 20,
1457:March 20,
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1129:March 19,
1103:March 19,
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1032:MacKaye.
1012:March 19,
978:March 25,
963:iUniverse
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707:216239855
699:2044-1983
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617:437084126
573:April 11,
567:Stereogum
449:Joe Lally
441:Bob Dylan
380:Hüsker Dü
372:Beefeater
356:Dag Nasty
311:the Faith
199:the Faith
152:9:30 Club
63:scene of
59:, is the
2085:Hardline
2040:New York
1859:Nardcore
1839:Mathcore
1636:PM Press
1548:45804603
1504:AllMusic
1478:AllMusic
1452:AllMusic
1426:AllMusic
1393:AllMusic
1217:AllMusic
1197:April 5,
1153:AllMusic
1124:AllMusic
1098:AllMusic
923:AllMusic
525:See also
470:Repeater
454:13 Songs
402:Thrasher
344:Soulside
325:AllMusic
57:harDCore
2100:Moshing
2030:Chicago
1911:Skacore
1906:Screamo
1632:Oakland
479:R&B
376:Embrace
75:History
2110:Poseur
2020:Boston
1989:Greece
1984:Canada
1979:Brazil
1799:D-beat
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1702:Images
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313:(with
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213:, and
211:Scream
183:S.O.A.
69:scenes
1999:Japan
1994:Italy
929:2 May
703:S2CID
309:When
1640:ISBN
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1544:OCLC
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967:ISBN
931:2018
904:2012
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830:ISBN
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765:2021
741:2008
695:ISSN
653:OCLC
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613:OCLC
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575:2016
512:Film
500:and
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390:funk
368:Swiz
302:and
227:and
195:Void
97:LGBT
89:WGTB
2105:Oi!
1879:Emo
1168:' '
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687:doi
475:MC5
397:emo
382:'s
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