Hardcore punk is a punk rock music genre and subculture that originated in the late 1970s. It is faster and more aggressive than other forms of punk rock, its roots can be traced to earlier punk scenes in San Francisco and Southern California which arose as a reaction against the still predominant hippie cultural climate of the time. It was inspired by New York punk rock and early proto-punk. New York punk had a harder-edged sound than its San Francisco counterpart, featuring anti-art expressions of masculine anger and subversive humor. Hardcore punk disavows commercialism, the established music industry and "anything similar to the characteristics of mainstream rock" and addresses social and political topics with "confrontational, politically-charged lyrics."Hardcore sprouted underground scenes across the United States in the early 1980s in Washington, D. C. New York, New Jersey, Boston—as well as in Australia and the United Kingdom. Hardcore has spawned the straight edge movement and its associated submovements and youth crew.
Hardcore was involved in the rise of the independent record labels in the 1980s and with the DIY ethics in underground music scenes. It has influenced various music genres that have experienced widespread commercial success, including alternative rock and thrash metal. While traditional hardcore has never experienced mainstream commercial success, some of its early pioneers have garnered appreciation over time. Black Flag's Damaged, Minutemen's Double Nickels on the Dime and Hüsker Dü's New Day Rising were included in Rolling Stone's list of The 500 Greatest Albums of All Time in 2003 and Dead Kennedys have seen one of their albums reach gold status over a period of 25 years. In 2011, Rolling Stone writer David Fricke placed Greg Ginn of Black Flag 99th place in his 100 Greatest Guitarists list. Although the music genre started in English-speaking western countries, notable hardcore scenes have existed in Italy, Japan and the Middle East. Steven Blush states that the Vancouver-based band D. O.
A.'s 1981 album, Hardcore'81 "...was where the genre got its name." This album helped to make people aware of the term "hardcore". Konstantin Butz states that while the origin of the expression "hardcore" "...cannot be ascribed to a specific place or time", the term is "...usually associated with the further evolution of California's L. A. Punk Rock scene". A September 1981 article by Tim Sommer shows the author applying the term to the "15 or so" punk bands gigging around the city at that time, which he considered a belated development relative to Los Angeles, San Francisco, Washington D. C. Hardcore historian Steven Blush said that the term "hardcore" is a reference to the sense of being "fed up" with the existing punk and new wave music. Blush states that the term refers to "an extreme: the absolute most Punk."Kelefa Sanneh states that the term "hardcore" referred to an attitude of "turning inwards" towards the scene and "ignoring broader society", all with the goal of achieving a sense of "shared purpose" and being part of a community.
Sanneh cites Agnostic Front's band member selection approach as an example of hardcore's emphasis on "scene citizenship". An article in Drowned in Sound argues that 1980s-era "hardcore is the true spirit of punk", because "after all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics", the punk scene consisted only of people "completely dedicated to the DIY ethics". One definition of the genre is "a form of exceptionally harsh punk rock." Like the Oi! subgenre of the UK, hardcore punk can be considered an internal music reaction. Hardcore has been called a "...faster, meaner genre" of punk, a "stern refutation" of punk rock. Steven Blush states that though punk rock had an "unruly edge", "Reagan-era kids demanded something more primal and immediate, with speed and aggression as the starting point."According to one writer, "distressed by the'art'ificiality of much post-punk and the emasculated sellouts of new wave, hardcore sought to strengthen its core punk principles."
Lacking the art-school grace of post-punk, hardcore punk "favor low key visual aesthetic over extravagance and breaking with original punk rock song patterns." Hardcore "...disavows...synthetic technological effects... the recording industry." Around 1980, as punk became "moribund" and radio-friendly, angry "shorn-headed suburban teenagers" discarded new wave's artistic statements and pop music influences and created a new genre, for which there were no places to play, which forced the performers to create independent and DIY venues. Music writer Barney Hoskyns compared punk rock with hardcore and stated that hardcore was "younger and angrier, full of the pent up rage of dysfunctional Orange County adolescents" who were sick of their life in a "bland Republican" area. While the hardcore scene was young white males, both onstage and in the audience, there are notable exceptions, such as the all-African-American band Bad Brains and notable women such as Crass singer Joy de Vivre and Black Flag's second bassist, Kira Roessler.
Steven Blush states that Minor Threat's Ian MacKaye "set in motion a die-hard mindset that begat everything we now call Hardcore" with his "virulent anti- industry, anti-star, pro-scene exhortations." One of the important philosophies in the hardcore scene is authenticity. The
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
Screamo is an aggressive subgenre of emo that emerged in the early 1990s, emphasizing "willfully experimental dissonance and dynamics." It was pioneered by San Diego bands Heroin and Antioch Arrow and developed in the late 1990s by bands from the East Coast of the United States such as Orchid, Pg. 99. Screamo is influenced by hardcore punk and characterized by the use of screamed vocals. Lyrical themes include emotional pain, death and human rights. "Screamo" has been mistakenly used as an umbrella term for any music that features screamed vocals. While the genre was developing in the early 1990s, it was not called "screamo." Chris Taylor, lead vocalist for the band Pg. 99, said "we never liked that whole screamo thing. During our existence, we tried to venture away from the fashion and tell people,'Hey, this is punk.'" Jonathan Dee of The New York Times wrote that the term "tends to bring a scornful laugh from the bands themselves." Lars Gotrich of NPR Music made the following comment on the matter in 2011: In the 2000s the term "screamo" began being used loosely to describe any use of human vocal instrument growled-word vocals in music.
It has been applied to a wide variety of genres unrelated to the original screamo scene. Juan Gabe, vocalist for the band Comadre, alleged that the term "has been kind of tainted in a way in the States." Derek Miller, guitarist for the band Poison the Well noted the term's constant differing usages and jokingly stated that it "describes a thousand different genres." According to Jeff Mitchell of Iowa State Daily, "there is no set definition of what screamo sounds like but screaming over once deafeningly loud rocking noise and quiet, melodic guitar lines is a theme affiliated with the genre." Bert McCracken, lead singer of The Used, stated that screamo is a term "for record companies to sell records and for record stores to categorize them." Screamo arose as a distinct music genre in 1991, in San Diego, at the Ché Café, including bands such as Heroin and Antioch Arrow. Gravity Records and Ebullition Records released this more expressive descendant of emo; the scene is noted for its distinctive fashion sense, inspired by mod culture.
As with emo, the term screamo carries some controversy among participants. Many groups from the East Coast were influential in the continual development and reinvention of the style, including Orchid, Pg. 99, City of Caterpillar, Jeromes Dream, Circle Takes the Square, Hot Cross, Ampere. By 1995, the term "screamo" drifted into the music press in the journalism of Jim DeRogatis and Andy Greenwald, by the mid-2000s, the term was being applied to many newer bands. Screamo bands such as The Used, Finch, Thursday and Silverstein developed a newer period of screamo in the 21st century. Thursday cited the post-punk band Joy Division, the post-hardcore band Fugazi as important influences, but took cues from the alternative rock styles of Radiohead, U2, The Cure. Many of these bands took influence from bands At the Drive-In. In contrast to the do-it-yourself screamo bands of the 1990s, screamo bands such as Thursday and The Used have signed multi-album contracts with labels such as Island Def Jam and Reprise Records.
However, this style's connection to the genre has been disputed, with some referring to it as "MTV screamo" or "pop-screamo", many bands more being categorized as post-hardcore or metalcore. Alternative Press describes pop screamo as "metal-influenced riffs and aggressive, high-end screams filled song’s verses, while soaring melodies carried choruses to new unattained heights."The term "post-screamo" has been used loosely to describe a wide variety of music in the 2000s and, influenced by traditional screamo. In a review of City of Caterpillar's influence on the genre, reporter Jason Heller of Vice writes "Call it post-screamo, if you must. Okay, maybe don’t do that. But.... The early 00s weren't the end of an anything so corny, it was just a transition."In the mid-2000s the style of early screamo regained vitality, with American bands like Comadre, Off Minor, Hot Cross releasing records on independent labels. The contemporary screamo scene has remained active in Europe, with bands such as Amanda Woodward, Louise Cyphre, Le Pré Où Je Suis Mort, La Quiete, Daïtro, Raein all being prime examples of their scene.
Fluff Fest, held in Czechia since 2000, was in 2017 described by Bandcamp Daily as a "summer ritual" for many fans of screamo in Europe. In the early 2010s the term "screamo" began to be reclaimed by a new crop of do-it-yourself bands, with many screamo acts, like Loma Prieta, Pianos Become the Teeth, La Dispute, Touché Amoré releasing records on large independent labels such as Deathwish Inc. In 2011 Alternative Press noted that La Dispute is "at the forefront of a traditional-screamo revival" for their critically acclaimed release Wildlife, they are a part of a group of stylistically similar screamo-revival bands self-defined as "The Wave," made up of Touché Amoré, La Dispute, Pianos Become the Teeth, Make Do and Mend. As well as, California's Deafheaven, who formed in 2010, having been described as screamo, in a style similar to that of Envy. Alternative Press has cited a "pop screamo revival" along with this, with bands like Before Their Eyes, The Ongoing Concept, Too Close to Touch and I Am Terrified.
In August 2018, Noisey writer Dan Ozzi declared that it was the "Summer of Screamo" in a month-long series documenting screamo acts pushing the genre forward following the decline in popularity of "The Wave," as well as the reunions of seminal bands such as P
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Columbia, South Carolina
Columbia is the capital and second largest city of the U. S. state of South Carolina, with a population estimate of 134,309 as of 2016. The city serves as the county seat of Richland County, a portion of the city extends into neighboring Lexington County, it is the center of the Columbia metropolitan statistical area, which had a population of 767,598 as of the 2010 United States Census, growing to 817,488 by July 1, 2016, according to 2015 U. S. Census estimates; the name Columbia is a poetic term used for the United States, originating from the name of Christopher Columbus. The city is located 13 miles northwest of the geographic center of South Carolina, is the primary city of the Midlands region of the state, it lies at the confluence of the Saluda River and the Broad River, which merge at Columbia to form the Congaree River. Columbia is home to the University of South Carolina, the state's flagship university and the largest in the state, is the site of Fort Jackson, the largest United States Army installation for Basic Combat Training.
Columbia is located 20 miles west of the site of McEntire Joint National Guard Base, operated by the U. S. Air Force and is used as a training base for the 169th Fighter Wing of The South Carolina Air National Guard. Columbia is the location of the South Carolina State House, the center of government for the state. In 1860, the city was the location of the South Carolina Secession Convention, which marked the departure of the first state from the Union in the events leading up to the Civil War. At the time of European encounter, the inhabitants of the area that became Columbia were a people called the Congaree. In May 1540, a Spanish expedition led by Hernando de Soto traversed what is now Columbia while moving northward; the expedition produced the earliest written historical records of the area, part of the regional Cofitachequi chiefdom. From the creation of Columbia by the South Carolina General Assembly in 1786, the site of Columbia was important to the overall development of the state; the Congarees, a frontier fort on the west bank of the Congaree River, was the head of navigation in the Santee River system.
A ferry was established by the colonial government in 1754 to connect the fort with the growing settlements on the higher ground on the east bank. Like many other significant early settlements in colonial America, Columbia is on the fall line from the Piedmont region; the fall line is the spot where a river becomes unnavigable when sailing upstream and where water flowing downstream can power a mill. State Senator John Lewis Gervais of the town of Ninety Six introduced a bill, approved by the legislature on March 22, 1786, to create a new state capital. There was considerable argument over the name for the new city. According to published accounts, Senator Gervais said he hoped that "in this town we should find refuge under the wings of COLUMBIA", for, the name which he wished it to be called. One legislator insisted on the name "Washington", but "Columbia" won by a vote of 11–7 in the state senate; the site was chosen as the new state capital in 1786, due to its central location in the state.
The State Legislature first met there in 1790. After remaining under the direct government of the legislature for the first two decades of its existence, Columbia was incorporated as a village in 1805 and as a city in 1854. Columbia received a large stimulus to development when it was connected in a direct water route to Charleston by the Santee Canal; this canal connected the Cooper rivers in a 22-mile-long section. It was first chartered in 1786 and completed in 1800, making it one of the earliest canals in the United States. With increased railroad traffic, it ceased operation around 1850; the commissioners designed a town of 400 blocks in a 2-mile square along the river. The blocks were sold to speculators and prospective residents. Buyers had to build a house at least 30 feet long and 18 feet wide within three years or face an annual 5% penalty; the perimeter streets and two through streets were 150 feet wide. The remaining squares were divided by thoroughfares 100 feet wide; the commissioners comprised the local government until 1797 when a Commission of Streets and Markets was created by the General Assembly.
Three main issues occupied most of their time: public drunkenness and poor sanitation. As one of the first planned cities in the United States, Columbia began to grow rapidly, its population was nearing 1,000 shortly after the start of the 19th century. In 1801, South Carolina College was founded in Columbia; the original building survives. The city was chosen as the site of the institution in part to unite the citizens of the Upcountry and the Lowcountry and to discourage the youth from migrating to England for their higher education. At the time, South Carolina sent more young men to England; the leaders of South Carolina wished to monitor the development of the school. Columbia received its first charter as a town in 1805. An intendant and six wardens would govern the town. John Taylor, the first elected intendant served in both houses of the General Assembly, both houses of Congress, as governor. By 1816, there were a population of more than one thousand. Columbia became chartered with an elected mayor and six aldermen.
Two years Columbia had a police force consisting of a full-time chief and nine patrolmen. The city continued to grow at a rapid