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The Teen Idles

The Teen Idles

:For the Nashville pop punk band, see Teen Idols Teen Idols The Teen Idles were a hardcore punk band that existed only for about fourteen months. Jeff Nelson and Ian MacKaye formed the band as well as Dischord Records, revolutionizing the Washington DC music scene and setting the stage for the formation of Minor Threat and the inadvertent development of the straight edge movement. The Teen Idles were the first band on Dischord Records. :Nathan Strejcek - vocals :Geordie Grindle - guitar :Ian MacKaye - bass and backing vocals :Jeff Nelson - drums Teen Idles, The Teen Idles, The Category:Dischord Records

Pop punk

Pop punk is a term applied to a style of punk rock music that became commercially successful during the late 1990s with the band blink-182, based on earlier groundwork laid by groups such as Green Day. The pop punk genre, though highly debated as authentically punk, or merely teen-focused pop, is nonetheless a powerful force. Many musicians who started in pop punk bands would later go on to form more hard-edged sounds as the members grew older and more experienced.

History

Origins

Pop Punk (or Punk Pop) is a musical style which emerged at the on-set of punk rock in 1975 with America's counterpart of England's Sex Pistols and the Clash - The Ramones (who actually formed before the Sex Pistols or the Clash). The Ramones were trying to bring about a rock and roll revival and were huge fans of The Beatles. During 1975 their sped-up buzz saw, loud and fast, minimalistic melodic rock differentiated them from other groups who were lumped in the with the punk's early artist such as Television, Patti Smith, Iggy Pop, Talking Heads and etc. Though The Ramones themselves would never have a number 1 hit, and never crossed over completely to mainstream culture, they would set the stage for the pop punk genre. The early 80s was a time of reaction against the images offered up by the mass media about punks. Hardcore developed in response which claimed greater authority over what was actually punk. Black Flag and Minor Threat on the Pacific and Atlantic coasts are just two prime examples of this phenomenon. The music nabbed the aggression and violence of the Sex Pistols, ran away from the pop conscious sounds of The Ramones, and incorporated politics from the Clash into their music to an even greater degree. This sound was predominant through much of the 1980s. As Hardcore became more standard other groups began to respond by embracing pop hooks again and catchy melodies as an alternative to the hard speed sounds of hardcore. By this point punk in America, which had been confined to urban environments in the late 70s and 80s, was really permeating all across the country. MTV which had begun in the 80s was still rather young and had yet to embrace much punk music either. By the 90s many of the band s that had started in the late 80s and 90s were getting better and more experienced. Nirvana's 1991 release of Nevermind was the album and the moment when the indie-rock college scene post-hardcore community began to surface. Nirvana did much to pave the way for future bands across many genres by blowing the doors open

The Influence of College Rock & Lookout! Records

By the middle of 1980s hardcore was beginning to slow down, with Black Flag, Minor Threat and Dead Kennedys all splitting up within a few years of each other. Many other bands who did manage to stay together either outgrew the style as they became more technically proficient musicians and better songwriters, with many moving into thrash metal territory, or forming entirely new bands to play music that didn't adhere to hardcore's strict "Loud Fast Rules" philosophy. At a similar time college rock became more popular due to its reliance on poppy, catchy melodies rather than noise, aggression and violence as had been the case with hardcore. Bands like R.E.M., Camper Van Beethoven, Beat Happening, Dinosaur Jr and the Pixies led the way alongside some of the poppier hardcore bands such as Hüsker Dü and The Replacements. Inspired by this new, but lesser well known bands were formed such as The Donner Party and Dead Milkmen. Something similar happened in post punk Britain with the rise of Twee pop, a style of music strongly influenced by jangly guitar pop bands like The Byrds and The Smiths as well as early R.E.M. and Pacific Northwest indie institution Beat Happening. In 1988, Lawrence Livermore started a record label called Lookout! Records. Based in California, the label initially specialised entirely in a sunny, upbeat take on punk rock that both strongly recalled the thrashy bubblegum pop of The Ramones and stood in opposition to the Hardcore punk movement that had ruled the North American punk scene in the early-mid '80s. In this way it was similar to college rock in America and twee pop in Britain but it was different enough to establish an audience outside of both these scenes whilst possessing a similar spirit. Lookout! Records were in a enviable position as they arrived at the right time to capitalize on this desire for rock music that was catchy and accessible but with an underground cool about it. Some of the Lookout! bands broke through into the mainstream in the 1990s after the release of Nirvana's major label debut Nevermind in 1991 proved that punk rock bands could shift millions of units and get onto commercial radio and MTV.

Green Day and the First Wave of California Punk

It wasn't until 1994 that the melodic strand of punk inspired by the Ramones broke through on par with Nirvana's success. Green Day's album Dookie was the record which put pop punk on the map. The record was a huge commercial success, both in terms of sales and exposure on commercial radio and MTV. The Offspring's breakthrough album Smash arrived a couple of months later, selling more than 11 million copies and becoming the biggest selling release of all time on an independent record label. Other bands like Rancid and NOFX were pulling their weight and selling out huge concert halls. In addition many of the bands of the late 80's and early 90's who championed this style such as Crimpshrine, Jawbreaker, blink-182, Screeching Weasel and The Descendents just to name a few found a public much more ready for their sound. Lookout Records was one of the main labels behind Green Day and others. Fat Wreck Chords (owned by Fat Mike of NOFX) and Epitaph Records (owned by Brett Gurewitz of Bad Religion) also hosted pop punk artists, though they had a reputation for a more aggressive and diverse roster. The overnight success and sell-out status controversy of Green Day created a media whirlwind which reached all corners of the country. In response, teens all over picked up guitars and started bands, many hoping to achieve what Green Day and The Offspring had done. Green Day was formed in the late 80's and was caustically anti-major label, turning down offers from the majors for years. Maximum RocknRoll, which, apart from being a magazine, was anti-major labels and anti-corporate advertising, had supported Green Day and many other bands which eventually went on to sign with majors.

Blink-182 and the Second Wave of Southern Californian Punk

In 1999, blink-182 released their breakthrough album Enema of the State. Whereas Green Day and their contemporaries had not really altered their sound during the move from indie to major label, blink-182's breakthrough record boasted a radio friendly sound and slick production when compared to the more thrashy, trashy sound of their independently released recordings. The album disappointed some fans who accused them of selling out, blatantly softening their sound in pursuit of major success and playing the major label game by the book. By this point the pop punk genre had completely crossed over to the mainstream. Listeners of Enema were often jock or preppy kids who were seen to be in direct opposition to the punk kids to whom this music "belonged." However with the Internet full steam ahead, the accessibility of music and the impending dot com bubble and burst on the horizon, more and more kids were downloading songs and listening to music which would have previously been outside their "domain." The result was that all subcultures became much more accessible and as such also lost their potency. The listeners of music now were also probably listening to hundreds of other bands probably overlapping several genres. Despite, or perhaps because of this, Enema of the State became the band's most commercially successful release to date, garnering much radio airplay and widespread airing of the band's pop-parody music video for "All the Small Things". Their next album, Take off Your Pants and Jacket continued their commercial success and was similar in style to Enema of the State, alternating thrashy choruses with chuggy verses and combining the catchy melodies and anthemic choruses of Green Day with American Pie style humour. Following the success of the album, major recording labels began heavily recruiting and promoting punk pop acts. Bands such as Good Charlotte and Sum 41 had hits on both sides of the Atlantic following this mass signing of punk bands by major labels. These, as well as lesser known bands such as Bowling for Soup, became prime targets for criticism. They were perceived as adding little-to-nothing to the pop punk sound that already existed and were criticised from certain quarters that viewed them as pure careerists, apeing a sound that had reached its conclusion years ago, purely to become rich and famous. This style has spread worldwide even to countries like Argentina whose local band Smile (Argentina) is a national success.

The New Millennium

The new millennium brought on a host of new pop punk groups which pushed catchy singalong melodies and simple sugar-coated guitar solos. The emo strain had also crossed back into the punk genre. New Found Glory mocked and embraced the "boy band" culture surrounding Britney Spears,
- NSYNC and the Backstreet Boys. Allister, The Ataris, Midtown, Saves the Day, Fall Out Boy, The All-American Rejects, Simple Plan, and Good Charlotte are some of the bands achieving widespread notoriety. Bowling For Soup also clocked in with some nerd tunes with almost a nod to Weird Al Yankovic. Yellowcard won some awards. blink-182 released their first untitled album, a top-seller which was more introspective with not a single joke song, marking a progression from their previous American Pie-records. The album was much acclaimed but didn't outsell their Enema of the State. Soon after the band entered into a hiatus, with bandmembers devoting to solo projects. Bassist Mark Hoppus and drummer Travis Barker aligned with the female singer Carol Heller, formerly of Get The Girl to release a new album by the name of Plus 44, scheduled for projected release in the end of 2005. Guitarist and vocalist Tom DeLonge formed new band Angels and Airwaves - including The Offspring drummer Atom Willard and Box Car Racer bassit David Kennedy - with an album expected to be released sometime in first quarter of 2006. In early 2001, one of the pioneers of the pop-punk genre, the Chicago-based band Screeching Weasel disbanded a few months after playing a sold-out show with Yesterday's Kids and The Queers at the House of Blues in Chicago. Following the break-up, Screeching Weasel guitarist John Jughead formed an acoustic pop-punk band, which he christened Even in Blackouts in reference to the band's capability to perform sans electrification. EiB, as the band is sometimes known, has toured extensively and put out two full-lengths and an EP. The band has won praise from critics and fans alike for their musicianship and for the new twist that have put on the pop-punk genre. Although plans were announced for a Screeching Weasel reunion tour in the fall of 2004, these failed to come to fruition. The band's frontman, Ben Weasel is currently beginning work on an eponymous solo project.

Pop Punk or Punk Pop?

The term "Pop Punk" is so despised that it is often referred to as "Punk Pop". But the two are more or less interchangeable. Despite the intense marketing efforts and commercial success involved with pop punk, aficionados claimed a clear distinctiveness between pop punk and punk pop.

Common misconceptions about pop punk

Pop punk is sometimes associated with the label Emo. Emo is a form of Punk that places emphasis on emotion instead of the usual politics or other social commentary. It really is a genre influenced by pop punk but has evolved separate from it and the sounds are very unique from eachother. Pop punk is associated with emo in recent years because of bands like Jimmy Eat World & Get Up Kids who borrowed many emo ideas earlier in their careers, but have since been heavily affected by their respective major label deals in a way that means their music presently bears only slight similarities to emo. A further misconception is that bands like Weezer and The Vines are Pop-Punk bands. They are actually Power-Pop bands.

Underground Pop Punk

Parallel to the influx of mainstream pop punk bands, there are still a number that remain underground. Bands like Groovie Ghoulies from California, Screeching Weasel from Chicago, and Moral Crux from Washington have obtained a large fanbase without following the mainstream. In the punk community, listening to underground pop punk doesn't have the stigma attached to listening to their mainstream counterparts.

Notable pop punk artists/bands

Teen Idols

:For the DC hardcore band, see The Teen Idles The Teen Idles The Teen Idols were a pop punk band based in Nashville, Tennessee. The band was formed in 1992 and quickly gained local popularity while playing at venues such as Lucy's Record Shop and receiving frequent airplay on Nashville college radio. During the mid-90s, they released several EPs under the local indie label, House O' Pain. In 1996, the Nashville Music Association nominated the band for their Independent Artist of the Year award. A year later, the Teen Idols released their first full-length album under the indie label Honest Don's Hardly Used Recordings. They released two other albums under the Honest Don's label before signing to Fueled By Ramen in early 2003. The band released the album Nothing to Prove in July, 2003, but then broke up shortly thereafter. During their heyday, the Teen Idols headlined many tours in the U.S. and played support with other notable bands such as NOFX and the Queers. __NOTOC__

Discography

the Queers

LPs

- Teen Idols (1997)
- The Pucker Up (1999)
- Full Leather Jacket (2000)
- Nothing to Prove (2003)

Singles & EPs

- Old Days, Old Ways (EP) (1993)
- Nightmares (EP) (1994)
- Let's Make Noise (EP) (1995)
- V.M.Live Presents Teen Idols (EP) (1996)
- Teen Idols/Khrissy (split EP) (1996)
- Teen Idols/Spread (split EP) (1999)
- The Dysfunctional Shadowman Split CD (2003)

References

- [http://web.archive.org/web/20011027112504/members.aol.com/Flaviano/teenidols/bio.html Teen Idols biography] from archived official website
- [http://web.archive.org/web/20011027110800/members.aol.com/Flaviano/teenidols/disc.html Teen Idols discography] from archived official website Category:Pop punk groups Category:Nashville, Tennessee

Hardcore punk

Hardcore punk (or hardcore) is an intensified version of punk rock usually characterized by short, loud, and often passionate songs with exceptionally fast tempos and chord changes.

Overview

Hardcore originated in the late 1970s and early '80s in North America, primarily in and around Los Angeles and Washington, DC, but also in around New York City, Vancouver, Boston, and other cities. Former DC club promoter Steven Blush claimed, in his book, American Hardcore: A Tribal History, that hardcore was punk rock adapted for suburban teens. Hardcore lyrics often express righteous indignation at society, usually from a politically left perspective. The origin of the term 'hardcore punk' is uncertain. One story is that the term was coined by New York City producer and manager Bob Sallese while promoting a show by the band, The Mob, circa 1981, at a Bayside, Queens club. (The common New York term for fast punk, at the time, was 'thrash.') A less dubious possibility is that it comes from the "Hardcore '81" album by Vancouver's D.O.A.. Until roughly 1983, "hardcore" was used fairly sparingly, in the spirit of an adjective, and not in the sense of a defined musical genre: American teenagers who were into hardcore considered themselves into 'punk' -- as opposed to 'punk rock' or '77 punk,' the earlier, slower style of the Sex Pistols, et al., which they generally considered hopelessly dated and passé. 'Hardcore' was initially an in-group term meaning, in perfect anthropological fashion, "music by people like us," and included a surprisingly wide range of sounds, from hyper-speed punk to sludgy dirge-rock, and often including art/experimental bands such as Mission of Burma, The Stickmen, and Flipper. Today (and for the purpose of this article), it refers more-or-less exclusively to what used to be known as 'thrash.'

History

Like the British punk wave of 1976 to 1978, American hardcore was initially a tight-knit movement that evolved into an enduring genre. The sound borrowed elements from bands such as The Ramones, the UK Subs, and Motörhead (often at second- or third-remove), but quickly became an entity in itself. As with most musical genres, it's difficult to place the exact origins of hardcore; furthermore, the music's creation -- when and where earlier styles transformed into something new -- is subject to debate among fans. Michael Azerrad's Our Band Could Be Your Life traces hardcore, ultimately, to three bands: He calls LA's Black Flag (formed in 1976) the music's "godfathers"; credits the Bad Brains, formed in Washington, D.C. in 1978, with introducing their often astonishingly fast "light speed" tempos; and calls Minor Threat, another Washington, D.C. group formed in 1980, the "definitive" hardcore punk band. The Bad Brains' eponymous first album (originally a cassette-only release, in 1981), has been called the "holy grail" of hardcore. [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:bt98b5p4nsqh~T1]. A similarly-esteemed single, "Pay to Cum" b/w "Stay Close to Me," preceded it in 1980. (See here for sound files of the album: [http://www.mp3.com/albums/210998/summary.html]) Black Flag's reputation--well established during their career--has only grown in the nearly two decades since they disbanded: One critic says that Black Flag was "for all intents and purposes, America's first hardcore band. They emerged from Southern California to gain international prominence, touring enough to become a major attraction in virtually every city where a scene existed and undoubtedly inspiring others to get in the game," and that the group played "an essential role in the development and popularization of American punk." [http://www.trouserpress.com/entry.php?a=black_flag] In fact, Black Flag were tremendously important as a tireless DIY outfit, while (like the Dead Kennedys) having a musical style that seems not to have influenced many other bands of the time. They were mainstays, and tremendously respected, but were not necessarily artistic leaders. Also often cited as the definitive hardcore band are The Teen Idles, formed in 1978 in Washington, D.C. (Ian MacKaye, known as singer-guitarist of Fugazi, was a member of both the Teen Idles and, later, Minor Threat; the Teen Idles' EP was posthumously released in 1981.) They were sloppy, off-kilter proto-thrash. However, several bands in the Los Angeles area in the late 1970s released records whose style is functionally identical to what would later be called 'hardcore.' The most striking is the Middle Class's thrashing "Out of Vogue" EP from 1978. Also historically crucial is Rhino 39's 1979 "Xerox" b/w "No Compromise"/"Prolixin Stomp" single (Audio clips here: [http://www.emusic.com/album/10595/10595038.html]). The Germs' 1979 "GI" LP is essentially a hardcore record, not only for its quick tempos but especially for its notably fast chord changes (clips here; choose "What We Do Is Secret" and below for the important (GI) album: [http://www.mp3.com/the-germs/artists/3712/summary.html]), while the Circle Jerks' first album, from 1980, features both blinding chord changes and tempos. The Misfits, from northern New Jersey, were a '77 punk band involved in New York's Max's Kansas City scene, whose ironic horror-movie aesthetic was hugely popular among early hardcore aficionados. In 1981, the Misfits responded by integrating high-speed thrash songs into their set. Hüsker Dü was formed in St. Paul, Minnesota in 1978, as a New Wave ensemble, and became a thrash band, releasing their first recordings in 1981. Their early recorded output has been called a "breakneck force like no other ... Not for the faint of heart." [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fbfexqw5ldae] During this period, records and bands traveled from the far more organized California scenes to the East Coast, but rarely in the other direction (the Teen Idles played two poorly-attended shows in California in the summer of 1980, and were the first ostensible East Coast hardcore band to do so. Minor Threat's 1981 shows in Los Angeles were also somewhat spottily-attended). Many anomalies, as well, exist; including two other all-Black punk bands, circa 1978: the NY Niggers, from New York, and Philadelphia's Pure Hell -- both of whom released singles. Both sound like a speedy upward ramp toward thrash. For further examples in the difficulty of pinpointing Hardcore's origins (and there are many other such examples), Black Flag's canonical singer, Henry Rollins, first appeared under his given name, Henry Garfield, in the early DC hardcore band, State of Alert -- and joined Black Flag under fairly random circumstances after filling in on vocals -- as a fan -- at a 1981 show at New York's A7 club. In 1981, DC and Los Angeles both featured major bands called Youth Brigade, neither of whom was initially aware of the other. All of the above suggests that despite Azerrad's thesis, hardcore punk arose more or less organically throughout the United States--though especially on both coasts--at roughly the same time. Other notable early hardcore bands (circa 1980-81) include The Neos, from Victoria, British Columbia; The Fix, from Detroit; The Necros, from Maumee, Ohio; Strike Under, The Effigies, and Naked Raygun from Chicago; The Dicks and Big Boys, from Austin, Texas. College radio stations throughout the country played early hardcore, but the most influential single show was Rodney on the ROQ, on Los Angeles' commercial station KROQ. DJ Rodney Bingenheimer played many styles of music, and helped popularize what was, circa 1979-80, called "Beach Punk" -- a rowdy suburban style played by mostly teenage bands in and around Huntington Beach, and in the heavily-conservative Orange County. The San Francisco-area public station KPFA featured the Maximum Rock 'n' Roll radio show, with DJs Tim Yohannon and Jeff Bale, who played the younger Northern California bands. A wave of zines also helped spread the new, younger punk style, including Guillotine, Ripper, Flipside, and in late 1981, Yohannon and Bale's Maximum RocknRoll zine -- modeled on Tim Tonooka's Ripper, but with a national circulation and 'scene reports' from around the country. A strong infrastructure of indie labels, linked with already-existing radio outlets and both old and new zines (Slash, Option, Flipside, and others had already covered alternative music for several years), helped to create a functioning, nationwide subculture, if not always one that was appreciated by older indie-music fans. Unfortunately, the hardcore scene became associated with violence, and attracted some aggressive elements to hardcore shows. Some clubs were often trashed, and police began to appear at shows, at least in Los Angeles, USA. Skateboarding was also associated with the scene, at a time in which the radical sport known today was practiced underground and almost without official notice. The hardcore scene created slamdancing ('moshing' was a later term borrowed from Jamaican reggae -- the original one was '[doing] the Huntington Beach Strut'), stagediving, and crowd surfing. 1981 saw the release of Black Flag's first album, Damaged (they had released several singles and EPs since 1978). Popular at the time, but not much imitated, two decades later it's often seen as the defining album of the genre. The album would briefly appear on Billboard Magazine's top-200 album chart (at Number 200, for one week). The early hardcore scene was, however, highly regional, and equally important records of the period include The Adolescents' first LP (from Los Angeles), the NYC compilation The Big Apple Rotten To The Core, the Boston-area This Is Boston Not LA compilation LP, the Zero Boys LP (from Indianapolis), the Detroit-area Process of Elimination compilation EP, the Negative Approach EP (from Detroit), The Necros' IQ 32 EP (from Maumee, Ohio), SS Decontrol's Kids Will Have Their Say LP (from Lynn, Massachusetts), the New York Thrash cassette compilation, the DC-area Flex Your Head compilation LP, the Northern California Not So Quiet on the Western Front double-LP compilation, the Chicago-area Busted at OZ compilation LP, and the Fartz's Because This Fuckin' World Stinks LP (from Seattle). Complicating the matter is the fact that many important bands did not record, or released only self-made cassettes. Many regional bands were important through live shows, and do not appear in discographies. The cult-like influence of many of these bands persists to this day.

Influence

Hardcore had a huge influence on other forms of rock music, especially in America. The San-Francisco-based heavy metal band Metallica were among the first crossover artists (circa 1982-83), incorporating the compositional structure and technical proficiency of metal with the speed and aggression of hardcore (Metallica would eventually cover three Misfits songs). Venom were another very early crossover band, as were Hellhammer and Slayer. The new style became known as Thrash metal -- or, alternatively, Speed metal, although this term came later (another transitional term was 'Speedcore'), and soon became a trend, including other bands such as Megadeth and Anthrax. The rising influence of heavy metal in the hardcore scene was much to the dismay of some (especially veteran) hardcore punks, who felt that the hardcore bands who were crossing over to metal styles (the Boston scene had gone over en masse, circa 1984, while other bands such as Corrosion of Conformity, from Raleigh, North Carolina, gained prominence through popularity among metal fans) were selling out to some of the very sensibilities that hardcore had organized against -- as well as taking umbrage at headbangers who, they believed, were making a travesty of something that others had built. Veterans remembered that only a couple of years earlier, they were being attacked on the streets by hostile metalheads. Suddenly, those very people were, veterans thought, attempting to co-opt hardcore. Moreover, it was believed by these die-hard hardcore punks that these new long-haired interpreters of hardcore were merely engaging in contrivance and attempting to mimic emotions, such as raw anger, that they truly did not feel. In 1985, New York's Stormtroopers of Death, an Anthrax side project, released the extremely popular album, Speak English or Die. Though it bore similarities to Thrash metal, such as a characteristic bass-heavy guitar sound, and fast tempos and chord changes, the album was distinguished from Thrash metal in its lack of guitar solos and heavy use of crunchy chord breakdowns (a New York hardcore technique) known as "mosh parts". Other bands, most notably Suicidal Tendencies (from Los Angeles), and DRI (from Austin, Texas), played music similar to that of Stormtroopers of Death. The music was dubbed Crossover in the 1980's, however today the genre is often called punk metal. Many hardcore bands branched out and began experimenting with other styles, moods and concerns as their careers progressed in the 1980's; the music of many of these bands are some of the earliest examples of what became known as alternative rock. Husker Du's artistic growth from Land Speed Record to their final album Warehouse: Songs and Stories is a chief example of this development. Grunge especially was heavily influenced by hardcore. In this case, the sense of liberation that many of the grunge bands felt, that you didn't have to be the world's greatest musician to form a band, was at least as important as the music. Even though the early grunge sound was more influenced by Black Sabbath and Black Flag's My War album than hardcore punk rock, bands like Mudhoney and Nirvana would instill a traditional hardcore influence as well as take the sound into more conventional pop-oriented territory. In fact, Kurt Cobain once described Nirvana's sound as "The Knack and The Bay City Rollers being molested by Black Flag and Black Sabbath". This ultimately resulted in renewed interest in American hardcore in the '90s. In the early '90s, bands like NOFX and Bad Religion achieved varying levels of mainstream success, though both NOFX and Bad Religion had been around since the early '80s. They added catchy melodies and anthemic choruses to the hardcore template whilst removing much of the aggression and anger that had been the genre's trademark. NOFX and Bad Religion are rarely accepted as authentic by fans of hardcore punk, other bands that towed a poppier line, such as Green Day and blink 182, are almost always regarded as sellouts or being posers, like NOFX. Bands that retained the aggression of '80s Hardcore into the '90s include Agnostic Front , The Dwarves, The Distillers and Zero Bullshit. Many early hardcore bands have regrouped. The hardcore punk scene had an influence that spread far beyond music. The straight edge philosophy was rooted in hardcore and still exists today, though by no means were all hardcore punks straight edgers. (The popularity of straight edge in the hardcore scene was greater in the eastern U.S. than in the west.) Hardcore also put a great emphasis on the DIY punk ethic, with many bands making their own records, flyers, and other items, and booking their own tours through an informal network of like-minded people. Radical environmentalism and veganism found popular expressions in the hardcore scene.

Early history in Europe and the UK

Outside of North America, the influence of Hardcore has been less universal. The Netherlands, Finland, Sweden, and Germany had, and continue to have, notably active and prolific scenes, but in the United Kingdom, more traditional punk bands like The Exploited, GBH, Discharge, and The Anti-Nowhere League occupied the cultural space that hardcore did elsewhere. These UK bands at times showed a superficial similarity to American hardcore, often including quick tempos and chord changes, and generally had similar political and social sensibilities -- but they represented a case of parallel evolution, having been musically inspired by the earlier London street-punk band, Sham 69, and/or the proto-speed-metal band, Motörhead. Additionally, Discharge played a huge role in influencing the Swedish hardcore scene with bands such as Anti Cimex and other European bands. To this day many hardcore bands from that region still have a strong Discharge and even Motörhead influence, which is considered by many to be the standard Swedish hardcore sound. (It should also be noted, that there among a high percentage of Swedish hardcore bands from the early 90's and on, was a huge influence from the band Entombed in terms of sound, songwriting and production. Some would claim that the Entombed influence was -- or is -- an important part of how characteristic these bands sound; while other would claim that they suffer from a high similarity, because of it.) In much the same way, Anarcho-punk bands like Crass, Conflict, Icons Of Filth, Flux Of The Pink Indians and Rudimentary Peni had little in common with American hardcore other than an uncompromising political philosophy and an abrasive aesthetic. American hardcore punks listened to and supported many of these British bands (shows by bands such as GBH were considered special events in America, and drew large crowds), even while upholding a strict regionalism, deriding them as 'rock stars' and anyone too fond of them as 'poseurs' (expressive fans of the influential UK anarcho-punk collective, Crass, were called 'crassholes'). A 1986 concert by Discharge, in New York, generated brief international infamy when a crowd of roughly 1,500 paid $10 admission and pelted the band with garbage, but it should be noted at the time Discharge were adopting a more metallic sound. American hardcore bands who visited the UK (such as Black Flag, in 1981) encountered equally ambivalent attitudes. Visiting European hardcore bands suffered no such prejudice in the US, with Italian bands Raw Power and Negazione, and the Dutch BGK, enjoying widespread popularity. It should also be mentioned, that there in the more underground part of the UK scene, around the same time and a little later than the already mentioned bands existed, grew a hardcore sound and scene, inspired by continental European/Scandinavian, Japanese and US bands. It was started by bands like (and the people in) Asylum, Genocide Association and Plasmid, that from their material and inspiration -- only heard at live shows, and released on demo tapes and compilations in the mid 80's -- would evolve into bands like Heresy, Ripcord, early Napalm Death, Hellbastard, Doom, Satanic Malfunctions and Extreme Noise Terror. Where hardcore in the US almost had disappeared or evolved into something that (at least in the eyes of certain fans) didn't have much to do with what it was about in the earlier part of the 80's (in terms of production, distribution and what kind of audience it attracted to go to shows and to be members in bands), it was brought back to life in a way that both was like when Hardcore was it its best, and at the same time managed to incorporate metallic/crossover influences, in a way that gave it a relative new sound. The most important influences among late 80's UK bands was, among others, GISM, Confuse, Siege and Septic Death, as well as Discard, Anti Cimex and more metallic bands like Celtic Frost and Metallica. They also had a solid background in the Anarcho-punk sound, scene and way of thinking, as well. About the continental European hardcore sound and scene(s), there was a huge number of bands, that you can say could be described as something that was like (or something in between) the dominating UK bands and US bands -- which in reality was so much more, than using these references sounds like. The band that had the biggest influence among them all, was the already mentioned Discharge, having spawned the entire D-beat sub-genre. But also Circle Jerks, Bad Brains and Black Flag left their "mark" on European hardcore (especially in Italy), in a way that sometimes reached the point of being better than them! Other key-influences was Dead Kennedys, Disorder and Millions Of Dead Cops(also known as MDC). Some of the best bands from that era and these countries, was: Wretched, Raw Power, Declino, Negazione, Indigesti (Italy), H.H.H., MG-15, Eskorbuto (Spain), Inferno, Vorkriegsjugend, Scapegoats (Germany), U.B.R. (Slovenia), Kafka Process, Barn Av Regnbuen (Norway), Heimat-Los (France), Lärm, BGK (Holland), Dezerter, Armia, Moskwa, Siekiera (Poland), Kaaos, Rutto, Kansan Uutiset, Terveet Kädet, Appendix (Finland), Anti-cimex, Headcleaners, Asocial, Missbrukarna, Sound Of Disaster, Avskum (Sweden), Vi, Enola Gay and O.H.M. Examples of bands who continued to play that style of hardcore in the 90's, include: Seein Red, Uutuus, Kirous, Health Hazard, Detestation, Los Crudos, Sin Dios, and Totalitär.

Hardcore in the 1990s

Even though American Hardcore is often thought of solely as a product of 1980s Reaganism, many bands have continued to play an aggressive form of punk rock, similar to that of hardcore, well into the 1990s and even into the early 2000s. Whereas the hardcore movement of the 1980s had gone down a very narrow path, with the exception of Hüsker Dü and other bands who had gone to great lengths to extend the hardcore template beyond basic thrash, many of the '90s/'00s hardcore bands began to include new sounds into hardcore whilst retaining hardcore's aggression. Seattle's Zeke incorporated the heavier guitar sound and ranted vocals similar to Stormtroopers of Death into hardcore and, eventually, evolved into a thrash metal band. Other bands to follow a similar, hardcore metal, path include Pennywise and The Dwarves. In the late 80s bands like No Means No (British Columbia, Canada) and Victims Family (Northern California) created a new style of powerful music by blending aggressive elements from hardcore with other influences such as psychedelic or progressive rock, noise, jazz, or math rock (The term jazzcore has sometimes been used to describe this style). This path was followed in the early 90s by Mr Bungle and lesser known bands such as Deep Turtle (Finland), Ruins (Japan) and Tear of a Doll (France). The noisecore played by Melt Banana (Tokyo) is probably a separate evolution. To be mentioned also in that category: the avant-garde band Naked City formed by saxophonist John Zorn recorded extreme music based on hardcore. Also Neurosis which started as a hardcore band quickly created a style on their own with slower tempos and dark atmosphere. There were also many bands who started to incorporate emotional and personal aspects into their music, influenced by the sounds coming out of Washington, D.C. and Dischord Records which grew and fused with more traditional punk to create emo (sometimes said to be a contraction of the description 'emotional hardcore') by the late 90s. The Nation Of Ulysses was one of the most influential bands to come out of D.C. They combined dissonant guitars, similar to Black Flag, combined with elements of Jazz, and a seemingly absurdist political ideology. Their sound and fashion sense would be of particular influence, on the San Diego scene. Ebullition Records, from Santa Barbara, California, was a record label that tended to feature and distribute this type of music. These bands remained political, but tended to focus more on personal politics. Examples of these bands would be Endpoint, Groundwork, Split Lip and others. Born Against, from both New York and Baltimore, Maryland, played politically-aware hardcore. The San Diego Band Heroin splintered into many new bands, most notably, Antioch Arrow, and Clikatat Ikatowi. Antioch Arrow, were brutal and spastic, combined with a goth aesthetic, while Clikatat Ikatowi, combined pounding tribal drums, and dissonant guitar, with a post-punk aesthetic, and become one of the most unique bands of the 90's hardcore scene. The Locust, who started out as a fairly conventional hardcore band would develop their own sound; which is fast, brutal, and spastic. Some have described the Locust, as Free Jazz meets hardcore. The Locust, and their distinct sound, would later be classified as power violence. Antioch Arrow, Clikatat Ikatowi, and The Locust are just three of many bands who were associated with Gravity Records which was one of the most important record labels of 90's hardcore scene, later Gravity Records would also be associated with power violence. Straight edge also became more prominent in the 1990's with bands like Earth Crisis fusing metal and hardcore with militant vegan and straight edge lyrics. In the late 1990's there was surge of 80 revival bands which copied the sound of Youth of Today and Gorilla Biscuits, updating the sound with slightly faster tempos and metal breakdowns.

Hardcore today

There are still many bands today that follow the lines of original hardcore. It has evolved somewhat since the 80's but still follows many of the ideals like straight edge and hasn't been fused too much with metal. One of the most prominent record label of hardcore music currently is Bridge 9 Records. They represent a current trend in hardcore, putting out records by bands such as Champion, Sick Of It All, Stand And Fight, American Nightmare. Another common, heavier sound is represented by bands such as From Ashes Rise and Tragedy who play a brand of melodic sound influenced by crustcore. There are also many contemporary bands who play hardcore in an original, purist sense while attempting to add even more intensity to the music. Some of these fall under the power violence category, while others who play a brand of hardcore much like their forefathers of the early 80s. Some of these bands include Career Suicide, Spitting blood, Deadfall, and the now defunct Tear it Up. Many bands like this can be found on the 625 thrashcore record label. These bands are often true to a specific local flavor of hardcore. Another common trend is to try to capture the sound of influential bands from an earlier era. One example of this would be D-beat bands who emulate the early music of Discharge. The bands whose names comes closest to original, is Deathcharge and Dischange; while the most popular band among fans, is the Japanese band Disclose (at least during the first years of the new millennium). Some people though, consider the hardcore and punk scenes today to be elitist, as well as divided among those whose views vary on issues ranging from politics to DIY ethics. Additionally, the name "Hardcore" has been applied with increasing frequency to what most would consider "metal" music. Groups like Bleeding Through, Inner Surge and Poison the Well have fused the aggression of traditional hardcore with the intensity of metal. Typical of this "metalcore" genre are heavy breakdown parts and harshly delivered vocals, sometimes verging on death metal growl. As this new kind of music has evolved, so has the sub-culture associated with it; for example, fashioncore (such as the music of Bleeding Through). In the 1990s the name "hardcore" even came to be applied to a genre of electronica having nothing in common with hardcore punk. Although the term "Hardcore" has come to be attached to this kind of music, some fans of traditional Hardcore deride its use. Today, people who still refer to "Hardcore" as the style that began in the Early 1980's, sometimes use the term "Street Punk" rather than use the denigrated "Hardcore". A good example is the Californian hardcore punk band Final Conflict. The "-core" suffix has also been applied to musical genres which have little in common with "traditional" hardcore, such as Sadcore, Slowcore, and Emocore.

Hardcore bands

See also List of Early New Jersey Hardcore Bands
References

- American Hardcore: A Tribal History (Steven Blush, Feral House publishing, 2001, ISBN 0-922915-717-7)
- Smash the State: A Discography of Canadian Punk, 1977-92 (Frank Manley, No Exit, 1993)
External links

- [http://www.BlankTV.com/ BlankTV - The Net's largest free, D.I.Y. hardcore punk music video channel]
- [http://www.bandnews.org/genre/Rock/Punk Hardcore Punk News]
- [http://www.fuzzlogic.com/flex/ Flex Discography of USHC]
- [http://homepages.nyu.edu/~cch223/ Kill From The Heart]
- [http://euthanasie.propagande.org/ Euthanasie Discography of French Punk (French)]
- [http://noisetheory.org noise:theory] Australian alternative music community
Current punk community websites

- [http://www.punknetwork.com PunkNetwork]
- [http://www.punkgigs.com PunkGigs]
- [http://www.punk.com.au PunkAustralia]
Articles

- [http://bitchingandmoaning.org/archives/2005/06/women_in_hc.php women in hardcore, interview with Kira Roessler from Black Flag]
- [http://bitchingandmoaning.org/archives/2005/04/hr.php interview with Henry Rollins] Hardcore punk Category:Punk genres ja:ハードコア (音楽)

Ian MacKaye

Ian MacKaye (pronounced Mc-Eye) (b. April 16, 1962) is an American musician, probably best known as the founder and owner of Dischord Records, a Washington, D.C.-based punk rock label, and as the singer for two important punk rock groups: Minor Threat and Fugazi. MacKaye grew up in Washington, D.C. and listened to mainstream hard rock before discovering punk music in 1976 when he saw The Cramps perform at Georgetown University. He was particularly influenced by the D.C. and Californian punk scene. MacKaye looked up to punk icons like Bad Brains and Black Flag and was childhood friends with Henry Garfield (who later changed his name to Henry Rollins). Henry Rollins on May 21 2005.]] MacKaye played bass guitar in The Teen Idles (1979), was the lead singer for Minor Threat (1980) and Embrace (1985), and presently plays guitar and sings with Fugazi (1987) and The Evens. MacKaye has also worked with a few smaller bands on the side over the years, including Egg Hunt, Skewbald/Grand Union, and Pailhead, a collaboration between MacKaye and Al Jourgensen of the industrial band Ministry. He currently sings and plays guitar in the band The Evens with drummer and vocalist Amy Farina of the Warmers. The Evens released their self-titled album in early 2005, breaking a four-year silence by MacKaye. MacKaye, along with guitarist Sonic Boom (formerly of Spacemen 3), co-wrote the music to the 2003 documentary The Weather Underground. He is credited with starting the straight edge philosophy and is one of the pioneers of the DIY punk ethic.

Straight Edge

The song "Straight Edge" was written by Ian for his band, Minor Threat and was released in 1981 on Minor Threat's self titled EP. The song, according to The Manchester Newspaper in 1997, was written as an obituary for a friend of MacKaye's who died from an overdose of heroin. Ian expressed his pain, anger, and his determination of being clean and pure of any type of drug. It was a song that described a life free of smoking, drinking, drug use, and promiscuity. It began to influence youth culture as Minor Threat gained popularity through numerous live shows and through sales of the song on their EP. Over time, people adopted the philosophy of the song and many bands began to label themselves straight edge, founding the straight edge movement. MacKaye has since stated in multiple interviews that the straight edge movement does not reflect his opinions.

External links

- [http://www.dischord.com/ Dischord Records]
- [http://www.downhillbattle.org/interviews/ian_mackaye.php Ian MacKaye Interview with Downhill Battle]
- [http://www.cokemachineglow.com/feature/interview/mackaye.html Cokemachineglow interview with MacKaye]
- [http://www.furious.com/perfect/fugazi.html Ian McKaye Interview by Billy Bob Hargus (April 1997)]
- [http://www.personal.psu.edu/users/d/j/djf182/art002/assign4.htm Ian McKaye, By: David Faber]
- [http://www.bravenewwaves.ca/bnmedia/archive_i_imckaye.shtml Interview Music Excerpts (Real Audio)]
- [http://www.freeverse.tv/frictionpgs/f3.html A letter to Ian McKaye: The Iinspiration Behind Friction]
- [http://fusionanomaly.net/minorthreat.html Minor Threat on Fusion Anomaly]
- [http://radio.echoditto.com/node/49 Mackaye Podcast interview, April 2005] Mackaye, Ian Mackaye, Ian Category:Teetotalers

Dischord Records

Dischord Records is a Washington, D.C.-based record label specializing in D.C.-area independent punk, hardcore, and post-hardcore music. The company is co-owned by Ian MacKaye and Jeff Nelson, who founded the label in 1980 to release records by local hardcore punk bands. Bands such as Minor Threat, Embrace, Rites of Spring, Nation of Ulysses, Scream, Gray Matter, Jawbox, Shudder to Think, Dag Nasty, and Fugazi have released records on Dischord. The label is most notable for having maintained a strict do-it-yourself ethic, producing all of its albums by itself and selling them at discount prices without the help of major distributors. Dischord was a focal label in the early days of hardcore, and is one of the more famous independent labels, along with the likes of Alternative Tentacles, SST records, and Touch & Go. Early releases by Dischord were relatively well-produced compared to other punk and hardcore recordings of the time. Minor Threat's early work is an example of these higher production values. Dischord Records was also a key in the formative years of emo and post-hardcore between 1985 and 1987. (For more details, see Rites of Spring or Embrace.) Later bands to join Dischord include Q and Not U, Beauty Pill, Antelope, Faraquet, Medications, and Black Eyes. Q and Not U and Black Eyes are both influential and experimental dance-punk/post-punk bands. The label suffered a loss in 2005 with the disbanding of popular group Q and Not U. While the Dischord roster is not as active as it was in its heyday, Dischord continues to release records by bands from Washington D.C., and continues to document and support the Washington D.C. music scene.

External links

- [http://www.dischord.com/ Official site]
- [http://www.southern.com/southern/label/DIS/ Dischord Records Profile by Southern Records] Dischord Records

Minor Threat

Minor Threat was a short-lived hardcore punk band from Washington DC. They have been hugely influential: Critics have called them and their work "iconic", [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3hvsa93gb23a] and noted their "groundbreaking" music "has held up better than most of their contemporaries." [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gz6htr49klox] They and fellow Washington DC residents Bad Brains set the standard for many hardcore punk bands in the 1980s and 1990s. They produced short, often astonishingly fast songs, eventually with excellent production quality (then lacking in most punk/alternative rock). All of Minor Threat's records were released on the band's own Dischord Records. Dischord Records

History

While at Wilson High School, Ian MacKaye and Jeff Nelson were in the influental DC punk band The Teen Idles. After that band broke up, MacKaye decided to switch from bass to vocals, and organized Minor Threat with Nelson and two prep-school kids (from Georgetown Day School), bassist Brian Baker and guitarist Lyle Preslar. Minor Threat's first performance was in December 1980, opening for Bad Brains. Their first 7" EPs, "Minor Threat" and "In My Eyes", were released in 1981. The group became popular regionally, and toured the United States' east coast. "Straight Edge," a song on the first EP, inadvertently inspired the straight edge movement. The song seemed to be a call for abstention from drugs, alcohol, and promiscuous sex -- a new thing in rock music, which initially found a small, but dedicated following. Another Minor Threat song from the first EP, "Out of Step", further demonstrates the aesthetic: " Don't smoke/Don't drink/Don't fuck/At least I can fucking think/I can't keep up/I'm out of step with the world." The "I" in the lyrics was implied, and some in Minor Threat -- Jeff Nelson in particular, who sometimes smoked pot -- took exception to what they saw as MacKaye's imperious attitude on the song. In the time between the release of the band's second seven inch e.p. and the "Out Of Step" record the band briefly split when guitarist, Lyle Preslar moved to Illinois for college. During this period MacKaye and Nelson put together a studio only project called Skewbald/Grand Union (In a reflection of the slowly increasing disagreements between the two musicians, they were unable to decide on one name). The group featured members of Faith, who were fronted by Ian MacKaye's brother, Alec (formerly of the untouchables and would later go on to join Ignition), and recorded three untitled songs which would be released posthumously as Dischord's 50th release. During this period Brian Baker also briefly played guitar for Government Issue and appeared on the "Make An Effort" E.P. Preslar dropped out of college and at the urging of Bad Brains vocalist, H.R. Hudson the band reformed to play a series of shows and record the "Out Of Step" mini album. When "Out of Step" was re-recorded for the band's 12", "Out Of Step," MacKaye inserted a spoken section explaining, "This is not a set of rules..." An ideological door was already opened, however, and by 1982, straight-edge punks, such as followers of the band SS Decontrol, were swatting beers out of people's hands at clubs. (SS Decontrol's singer, Springa, was at the time a heavy drinker and cocaine user.) Minor Threat's song, "Guilty of Being White," led to some accusations of racism, although as with "Straight Edge," MacKaye has strongly denied such intentions, saying that some listeners misinterpreted his words. Slayer later covered the song, though perhaps not entirely in the spirit in which MacKaye wrote it: they changed the lyric "guilty of being white" to "guilty of being right" at the song's climax. MacKaye has stated that he was offended by the change because of the racist implications of the new lyrics. Among the factors in Minor Threat's breakup were disagreements over musical direction: Guitarist Preslar was increasingly enamored of U2. Allegedly Ian MacKaye was skipping practices towards the end of the band's career and he wrote the lyrics to the songs on the "Salad Days" E.P. in the studio. This was quite the contrast between the earlier recordings as he had written the music for some of the band's early material and also collabarated in writing the music on others. Singer Ian MacKaye went on to found Embrace with former members of The Faith (band), the obscure Egg Hunt with Jeff Nelson and later Fugazi and the Evens, as well as collaborating on Pailhead. Brian Baker went on to found Junkyard and the seminal Dag Nasty and currently plays in Bad Religion. Lyle Preslar briefly played in Glen Danzig's Samhain and his playing appears on a few songs on the band's first record; he later became an A&R director for Atlantic Records. Jeff Nelson played less frantic alternative rock with Three and The High-Back Chairs before retiring from live performance; he also runs his own label, Adult Swim Records (distributed by Dischord), does graphic art, and became a somewhat prominent political activist in the D.C. area. The band's own Dischord Records released material by many bands from the Washington, D.C. area, such as Rites of Spring, Gray Matter, and Dag Nasty, and has become a respected independent record label. Dag Nasty In 2005, the cover of Minor Threat's first EP (also used on the First two 7"'s on a 12" LP and Complete Discography CD) was copied by athletic footwear manufacturer Nike for use on a promotional poster for a skateboarding tour called "Major Threat". Nike also corrupted Minor Threat's distinctive logo (designed by Jeff Nelson) for the same campaign. MacKaye issued a press statement condemning Nike's actions and said that he would discuss legal options with the other members of the band. Meanwhile, fans, at the encouragement of Dischord, organized a letter-writing campaign protesting Nike's infringement. On June 27, 2005, Nike issued a [http://www.nike.com/nikeskateboarding/v2/letter/ statement] apologizing to Minor Threat, Dischord Records, and their fans for the "Major Threat" campaign and said that all promotional artwork (print and digital) that they could get ahold of were destroyed. On October 29, 2005, Fox played the first few seconds of Minor Threat's "Salad Days" during an NFL broadcast. This was not cleared by Dischord Records or any of the members of Minor Threat. However, Fox claims that the clip was short enough that it did not violate any copyrights.

Members

- Ian MacKaye - vocals
- Lyle Preslar - guitar
- Brian Baker - bass, guitar
- Jeff Nelson - drums
- Steve Hansgen - Bass

Discography

Releases

- Minor Threat 7"
- In My Eyes 7"
- Out of Step LP
- First two 7"s on a 12"
- Salad Days 7"
- Live VHS/DVD
- Complete Discography CD
- First Demo Tape 7"/CD
- "27 Hits Live! (German Bootleg]]

Compilations

- Flex Your Head LP/CD
- Dischord 1981: The Year in 7"s LP/CD
- 20 Years of Dischord 3xCD

External links

- [http://www.dischord.com/bands/minorthreat.shtml Minor Threat Profile by Dischord Records]
- [http://www.southern.com/southern/band/MTHRT/ Minor Threat Profile by Southern Records]
- [http://www.shanatinglipton.com/punk1.html Rekindling the Punk Flame, article] Category:Dischord Records Category:Hardcore punk groups Category:Later punk groups ja:Minor Threat

Ian MacKaye

Straight Edge

External links

Category:Hardcore punk groups

For a more comprehensive list, see List of hardcore punk bands. Category:Hardcore punk Category:Punk rock groups Category:Musical groups by genre

Category:Dischord Records

Category:Independent record labels

Grotte

Grotte é uma comuna italiana da região da Sicília, província de Agrigento, com cerca de 5.956 habitantes. Estende-se por uma área de 23 km², tendo uma densidade populacional de 259 hab/km². Faz fronteira com Aragona, Campofranco (CL), Comitini, Favara, Milena (CL), Racalmuto. Categoria:Comunas da Itália Categoria:Comunas da Sicília Categoria:Comunas de Agrigento

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The Teen Idles

Pop punk

History

Origins

The Influence of College Rock & Lookout! Records

Green Day and the First Wave of California Punk

Blink-182 and the Second Wave of Southern Californian Punk

The New Millennium

Pop Punk or Punk Pop?

Common misconceptions about pop punk

Underground Pop Punk

Notable pop punk artists/bands

First Wave Acts

Second Wave Acts

Independent Pop Punk

Teen Idols

Discography

LPs

Singles & EPs

References

Hardcore punk

Overview

History

Influence

Early history in Europe and the UK

Hardcore in the 1990s

Hardcore today

Hardcore bands

References

External links

Current punk community websites

Articles

Ian MacKaye

Straight Edge

External links

Dischord Records

See also

External links

Minor Threat

History

Members

Discography

Releases

Compilations

External links

Ian MacKaye

Straight Edge

External links

Category:Hardcore punk groups

Category:Dischord Records

Grotte

Geschichte

Verwaltungssitz

Geografie und Verkehr

Baugeschichte