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But as the scene continued to swell, toward the end of the decade Downtown club managers became less willing to contend with increasing violence and injuries befalling audience members because of slam dancing, stage diving, and other unruly behavior, which could spur lawsuits.
“We were trying to put soul into the shit,” Ramirez says about District 9’s musical style – a combination of metal and hardcore punk, with an occasional jazz break and rhyming lyrics that were virtually interchangeable with popular gangsta rap songs of the era.ore than three thousand people surround me in the packed Roxy nightclub on West 18th Street in Manhattan. Still, we’re grateful the surface below our feet was custom designed to support hard falls. But the wind-milling arms, roundhouse kicks, and javelin-like body tosses on this night in ’97 bear little resemblance to the more subdued moves once executed in Roxy’s early days as a roller disco.“It was punching you in the face, where punk was shoving you and saying, Hardcore’s about ‘fuck the world,’ but it’s also about the opposite: respecting people.” After a few minutes of near complete sensory overload, the band strikes the tune’s last note, the crowd cheers, and everyone readies themselves for the next song.Intense, original and cultivating an infectious sense of community, hardcore music began its reign of underground terror nearly forty years ago. They weren’t talking shit.” * * * article about hardcore in New York, Kelefa Sanneh wrote that it “was born as a double-negative genre: a rebellion against a rebellion.
Because small clubs were shuttering their doors to hardcore or had closed altogether – like A7 in 1984 – Gill says there was “no point of entry for bands to grow.” But by the mid-90s he and many other fans would get the chance to experience a new brand of hardcore, appealing to an even broader demographic.