Research Report - Antonia Gifford

What holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?

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Photographic Journalism

14th January 2018

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14.01.18 What holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?

Candidate Declaration: By submitting this form, I, Antonia Gifford hereby confirm that this thesis is my own work.

This report, or any part thereof, has not been previously submitted for any assessment, degree or comparable award and I confirm the work is my own and referenced accordingly.

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14.01.18 What holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?

Abstract Known for the city’s relationship with music, Leeds is somewhere that musicians can be proud of the musical heritage. With some of the most respected music venues scattered around the City such as Leeds o2 Academy and the First Direct Arena, there are also less respected and forgotten about venues that are running solely on people’s passion for the music that the venues support.

This report will examine and highlight the reasons for (or/and against) the decline of the independent music scenes throughout the UK, focussing mostly on Leeds. Whilst exploring the socio-economic factors of niche genres, the way that journalism represents certain music scenes and the discrimination that certain smaller venues have faced, there will also be an analysis of findings from both primary and secondary research.

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14.01.18 What holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?

Table of Contents 1. Introduction to Research.........................................................................................

1.1. Introduction and Background..................................................................................

1.2. Research Aim..........................................................................................................

1.3. Research Objectives................................................................................................

2. Literature Review 2.1. To investigate the development of hardcore and pop music from the 1980’s onwards…………………………………………………………………………..…...7 2.2. To assess the way in which musical genres are represented in the journalism industry……………….................………………………………………………….....8 2.3. To explore the influence that socio-economic factors have had on hardcore as a genre…………………………………………………………………………..........8-9 3. Methodology..................................................................................................................10 4. Analysis and Discussion.............................................................................................10 4.1. Analysis of the online questionnaire.......................................................................10-11 4.2. To compare attitudes towards the independent music scenes in the UK and to analyse the discrimination that independent music venues have faced in the North of England.......................................................................................................................12 4.3. To analyse/assess the way in which musical genres are represented in the journalism industry........................................................................................................................13

5. Conclusions..................................................................................................................13 5.1. To establish the future of independent music venues and scenes in the UK..............................................................................................................................

6. References/Bibliography............................................................................................

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14.01.18 What holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?

1. Introduction to Research 1.1 Introduction to Background The purpose of this research topic is to discuss and evaluate the reasons behind the independent music scene and it’s decline regarding certain genres. This study aims to explore both primary and secondary sources in order to bring attention to the effects that certain reasons will have on smaller DIY music venues in years to come.

The main task of this research project is to gather information from several individuals who hold strong opinions in the music scene in Leeds.

The main aim of this research project is to gather evidence from a number of different sources to confirm the aims and objectives of this report. The more people that agree to involve their opinions will have an impact on the accuracy on the outcome of this research report. There is no real evidence to prove that small DIY venues are failing, however it all comes down to the opinions and thoughts that individuals have and the interests that they share. It’s a smaller story outside of London, too: across the UK, music venues that have flourished for years have begun to disappear. (Barton, 2017).

The main allegation facing the study is the gathering of primary and secondary data. The two foremost issues it will have, is successfully getting enough people to fill out a questionnaire and agreeing to a possible interview to ask them any further questions if needed about the matter at hand.

Although the questionnaire is entirely anonymous and no information can be tracked, certain questions may put the participants off completing the questionnaire which automatically raises an issue for the completion of the research report to its full potential. Secondary data will be collected from several books, online articles and case studies to assist the study.

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14.01.18 What holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?

1.2 Research Aim

The primary aim of this research is to determine whether the independent music scenes involved are in danger of closures and what has caused this in the past 30 years. Narrowed down from the question; “what holds the responsibility for the decline of the independent music scenes from the 1980’s onwards?” is the study of music scenes in Leeds specifically- as international studies would be too broad of a question for this particular research report.

1.3 Research Objectives Objective 1: To Investigate the development of hardcore music from the 1980’s onwards.

1 The main sources that will be used to supply information on this objective will be from secondary data coming from both online and print publications, documentaries and articles that have been published in the past 15 years.

Objective 2: To assess the way in which music genres are represented in the journalism industry.

2 An anonymous questionnaire has been created for the sole purpose of this research study; with a question included pointing participants in the direction to give an answer for this particular objective. Although information will be the opinions of said participants, if enough people fill in the questionnaire, enough information will be collected in order to understand the different views on this objective. There will also be a collection of secondary data from existing music publications such as NME and Kerrang! in order to analyse the representation of certain genres.

Objective 3: To explore the influence that socio-economic factors have had on hardcore as a genre and a scene.

3 This objective was created in order to generate a broader subject topic to explore. In order to collect enough relevant information from enough participants, there must be a broader topic of questions to answer.

This objective will also allow any information that is relevant to the subject, but not relevant in any other of the studies objectives, to be included here.

Objective 4: To analyse the discrimination that independent music venues have faced in the north of England.

4 With the knowledge of certain people who own and work at a selection of different independent music venues in Leeds, there will be on-going Q&A sessions through this research study to analyse the different opinions and views people have on what is meant by ‘the discrimination’ of music venues. There will also be secondary data collected from existing articles and interviews online that will be analysed for the purpose of this research.

Objective 5: To compare attitudes towards the independent music scenes in the UK. 5 This objective will link in with the anonymous questionnaire that has been created for this research study. The answers that participants will give will all be analysed and compared in an attempt to discover similar views on the subject at hand.

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2. Literature Review 2.1 To investigate the development of hardcore music from the 1980’s onwards.

Robb (2006) states that the tragic, self-inflicted deaths of Ian Curtis and Malcolm Owen in 1980 robbed the punk and post-punk scene of two of its most mesmerising frontmen. Philips and Cogan (2004) explain that in the academic study of music, the terms ‘proto’ and ‘post’ are used as devices that situate a particular movement in time. Apocalyptic nuclear war scenarios combined with the non-arrival of the counterculture revolution made the deaths of Owen and Curtis seem like a sad bookend to the punk revolution (Robb, 2006). After referring to the possible end of the punk revolution, Robb (2006) goes on to explain that the pop headlines were now dominated by New Romantics, the revolution was over, the Tories were in power and the greedy eighties were kicking off., whilst also stating that for many people, this was the end of the punk era, but the next few years were a fascinating period where there was a battle for the very soul of punk itself. Culturally this was an absorbing period, with a lot of great music and extreme counterculture action, easily fulfilling the promise of the original punk revolution, but musically it was all jammed below the radar (Robb, 2006). Stating that punk didn’t fuck off in 1984, Robb (2006) also commented on it remaining so much part of the culture you couldn’t even see it anymore.

“Heavy metal” now denoted a variety of musical discourses, social practices, and cultural meanings, all of which revolve around concepts, images, and experiences of power (Walser, 1993).

In 1981, MTV was introduced to the masses, and O’Hagan (2004) described it as the pivotal moment when the pop video became as important as the pop single. It wasn’t until December 1986 when MTV significantly increased the amount of heavy metal it programmed initiating a social programme called ‘Headbangers’ Ball’ and putting more metal videos into their regular rotation (Walser, 1993). Due to its growing popularity, rock and heavy metal music made its way into the charts- with U2 holding the number one spot on the Billboard charts in June 1987 (Walser, 1993). For the rest of the decade, metal usually accounted for at least half of the top twenty albums on the charts (Walser, 1993).

Cooper (2017) states that hardcore continues to be a sub-genre of music with a strong following, and while it paved the way for thrash metal and other heavy sounds, many of the early hardcore bands are still together and new bands rise up constantly.

In the present day, there are issues revolving around money causing less people to go to local shows, however when hardcore first came about, there wasn’t as much of an issue as people supported the scene much more. With live music streaming now an option for people with less money, it seems to be popular with people who can afford to attend shows but are purely too lazy to do so. In the 80’s, people weren’t as surrounded with technology and the internet, then being forced to leave the house and doing things with their friends instead of neighbouring themselves with technology in their room.

It could also be argued that the independent scene has both developed and declined, in that many bands now ‘piggybank’ off others and do nothing progressive with their own sound, and just see the scene as a money making point with the knowledge of successful bands such as the Kaiser Chiefs and The 1975.

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2.2 To assess the way in which musical genres are represented in the journalism industry.

With the news holding a sizeable quantity of control over information released on current artists, there have been past incidents where musicians have been blamed for extreme actions caused by their audiences. This also happens in detached situations regarding video games with people suggesting that violence and anger is encouraged towards impressionable teenagers.

The Daily Mail placed the blame of the suicide of Hannah Bond onto the U.S band My Chemical Romance after she had started listening to them a few weeks before her death (Passey, 2012). The individual responsible for this article, Andrew Levy, although including all relevant information throughout, also found it appropriate to incorporate a set of lyrics by the band: “although you’re dead and gone, believe me your memory will go on.” Levy (2008) Levy (2008) also went on to say that The Black Parade is a nickname for a place where emo fans believe they will go when they die.

The Rolling Stone Encyclopaedia of Rock & Roll (Bashe and George-Warren, 2005) shows more support of this controversy after The Daily Mail labelled My Chemical Romance as a ‘suicide cult’ (2001). The band released the following statement on their website: 6 “My Chemical Romance are and always have been vocally anti-violence and anti-suicide.

As a band, we have always made it one of our missions through our actions to provide comfort, support, and solace to our fans...if you or anyone you know have feelings of depression or suicide, we urge you to find your way and your voice to deal with these feelings positively.” (Simon & Schuster, 2001). The Rolling Stone Encyclopaedia of Rock & Roll is a more trusting article found online for information about the matter, due to having more content and undoubtedly more of an understanding of rock music and the ‘emo’ phase.

From the early days, hardcore shows were misunderstood as violent affairs by the mainstream media (Cooper, 2017). Hardcore music’s only unifying factor is its sound. The lyrics and messages vary from band to band (Cooper, 2017). Certain hardcore bands preach drug and alcohol-free lives, and some preach the issues that revolve around politics and the government in the UK. The image that a band receives all revolves on what they ‘preach’ through their lyrics.

2.3 To explore the influence that socio-economic factors have had on hardcore as a genre and a scene.

Barcella (2014) suggests that Straight edge is a clean-living youth movement that evolved from punk rock’s hardcore scene in the early 80’s. Through records, shows, zines, documentaries, books, and more, the slowly growing straight edge (or sXe) masses encouraged their fans – and friends – to adopt the ‘straight’ lifestyle that was at the heart of that movement: no drugs, no alcohol, no cigarettes, and, for many, no promiscuous sex (Barcella, 2014). Stating MacKaye’s lack of interests in ‘partying’, Barcella (2014) continues to suggest that his belief that partying was generally self-destructive – was one of the themes that sparked the influential Minor Threat song he wrote, called Straight Edge: “I’m a person just like you / but I’ve got better things to do / than sit around and smoke dope / cause I know that I can cope”.

-“Straight Edge” by Minor Threat, 1981 In the song, MacKaye spoke out against substances as well as what he calls conquest-ual sex, aka “boys trying to fuck every girl they could because they had issues.’ (Barcella, 2014).

Despite MacKaye having officially coined the term ‘straight edge’, he doesn’t – and never has

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– identified as part of that scene (Barcella, 2014). “I stand behind the song, but it wasn’t intended to be a movement,” he says (Barcella, 2014).

Minor Threat were a hardcore punk band who formed in Washington, D.C in 1980, but broke up in ’83, and although short lived, is still one of the major influences on the punk rock scene in establishing a ‘DIY’ ethic for music distribution and promotion of concerts.

Also life-changing for many kids was straight edge’s focus on activism and social justice (Barcella, 2014). As Haenfler recalls, “straight edge not only turned me on to the exploitive cigarette and alcohol companies...it also turned me on to the animal rights and honed the interests I already had in women’s rights, gay rights, environmentalism, anti-racism, anticapitalism, and DIY culture” (Barcella, 2014).

Speaking of women’s rights, it’s well-documented that not many women participated in the straight edge scene – or at least attended its shows in the early days (Barcella, 2014).

Barcella (2014) suggests that like Kenny, Ross Haenfler wasn’t alone in his sXe-fuelled celebration of more politically progressive beliefs, especially when it came to the animal front.

Following this, Barcella (2014) comments that vegetarianism and veganism grew into a fairly major theme throughout the scene in the ‘90’s.

Sub-sections of the straight edge movements include abundant sexism, homophobia and racism, which, according to Barcella (2014), are all classed as smaller, more aggro, more intolerant sub-sections.

In his book ‘Straight edge – clean living youth, hardcore punk and social change’, Haenfler (2006) states the fact that club owners and show promoters wanted to avoid being caught selling alcohol to underage people, so to avoid being caught and having their liquor license revoked, a D.C. law barred music establishments from refusing to admit minors, and to accommodate eager and underage fans, clubs marked their hands with large X’s as a signal to club workers not to serve them alcohol. Haenfler (2006) also states that this however quickly became a badge of defiance. Youth transformed the X from a stigma to a symbol of pride, as if to say, “not only can’t we drink, we don’t want to drink” Haenfler (2006).

Haenfler (2006) also suggests that straight edge remains nearly inseparable from the hardcore music scene. Following this, Haenfler (2006) states that hardcore shows are still the most important place for straight edge ‘kids’ to congregate, share ideas, and build solidarity.

Referencing Irwin (1999) and Atkinson (2003), Haenfler (2006) writes that straight edge attracts a variety of young men and women, but in the United States the typical sXer is a white, middle class male or female, aged approximately fifteen to twenty-five, following with declaring that some scenes are more diverse.

Haenfler (2006) then goes on to suggest that the politically correct era was a period when many sXers took an interest in social issues, emotions, and self-actualization. Observing the fashion, Haenfler (2006) proposes that today’s politically correct sXe kids might wear sweaters, jeans, and sneakers, also stating that many of these kids take issues of sexism, racism, and homophobia very seriously.

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3. Methodology The process used for the main area of data collection in this study was an online questionnaire.

Inclusive of 10 questions, they were mainly accompanied with comment boxes instead of being a multiple-choice questionnaire due this study being revolved more around opinions from individuals. This also allowed people to produce more in-depth answers. The questions are as follows: 1. Do you know much about the independent / DIY music scene in Leeds? a. Yes b. No c. Comment box available 2. Do you think that small venues are struggling to stay open? a. Yes b. No c. Comment box available 3. What do you know about the efforts in Leeds that go into keeping smaller venues open? a. Comment box available 4. What do you think can be done to make sure small, DIY / independent venues stay on the map? a. Comment box available 5. What do you think are the reasons for the decline of the music scene since the 1980’s? a. Comment box available 6. Explain your views on the development and / or decline of a certain genre in the UK. a. Comment box available 7. Do you think certain genres are represented in a negative way in the journalism industry? a. Yes b. No c. Comment box available 8. What sort of discrimination do you think smaller venues have faced in the past 40 years? a. Comment box available 9. This section is for any other comments you might have on the subject.

10. How old are you a. 18-25 b. 26-30 c. 31-40 d. 41+

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4. Analysis and Discussion 4.1 Analysis of the online questionnaire.

Regarding the gathering of responses for this study, the main concern was not getting enough participants to fill out the questionnaire. Although the nature wasn’t invasive, there aren’t many people on social media that put their opinions out in public. However, this issue was resolved by making the questionnaire anonymous, as it made participants aware that whatever their answer was, it couldn’t be tracked back to them.

At the start of the questionnaire, it included a personal email that participants could contact if there was any confusion regarding the questions or if there were any further questions or interest from them. It also explained that participants didn’t have to feel pressured into taking part if they didn’t want to or if they were unsure.

The questionnaire was sent out via a link on social media sites, along with the description explaining the purpose of the survey.

With the questionnaire being online only, this meant that participants could complete it in the contentment of their own home without feeling pressured about others hearing or knowing their answers, which hopefully resulted in more in-depth and truthful conclusions. However, with this being anonymous, participants could have felt like un-truthful answers could have been given, therefore this may have an effect on the final results received.

One of the high points of this survey was that it was catered for everyone’s needs- whether they had a strong knowledge of the study or not, they could still answer the majority of questions and their answers wouldn’t appear irrelevant.

The study’s questionnaire had a total of 10 responses.

Although a small number, there were some very in-depth and detailed answers in the comment boxes provided after each question.

Out of all participants, 100% selected their age range as between 18-25.

40% of participants said that they knew about the independent / DIY music scene in Leeds, whereas the other 60% didn’t know anything. 40% of participants left comments in the box available, leaving a selection of their knowledge there for the completion of the survey. One participant showed their knowledge by listing multiple different music venues that they counted as independent and DIY, following this showing their understanding of different genres that are popular throughout the DIY scene.

• “There’s multiple different venues, including Wharf Chambers, Santiago Bar, Temple of Boom, Chunk, Eiger and Brudenell Social Club. There’s various different branches of the DIY music scene, the Indie scene, Hardcore scene, Punk scene, Emo scene and Pop Punk scene, each of these crossover into each other and occasionally you may get a larger show that had bands from these different scenes playing together. Multiple people promote in Leeds, the largest of these promoters including Dirty Otter and Super Friendz but many more exist. There’s loads of bands from Leeds, and the surrounding area, big and small, well known and not well known, from bands like Calls Landing to Glass Mountain and bands like Higher Power who are establishing themselves amongst a much wider audience.

10% of participants said that small venues aren’t struggling to stay open, with the other 90% agreeing with the statement that they are. 90% of participants also left comments explaining 11

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their reasons. The most common subject matter than participants had in common was the competition of chain venues like Academy’s, stating that it’s hard to have high profile acts and make a profit on the event, as well as commenting on money being another issue.

Responses to the question “what do you know about the efforts that go into keeping smaller venues open?” weren’t as successful. Although 100% of participants left a comment, 90% of these comments consisted of “don’t know any”, “not sure”, “no idea”. One person suggested that there is huge support shown by students of Leeds as consumers to try and keep these venues open. As participants got half-way through the survey, there seemed to be a lack of explanations throughout their answers, however this didn’t affect the data collection too much.

4.2 To compare attitudes towards the independent music scenes in the UK and to analyse the discrimination that independent music venues have faced in the north of England.

It has been estimated that over the past ten years, between 35-40% of music venues across the UK have closed down, due to the suggestions of location, lack of public interest, the economy as a whole, tough licensing laws, aggressive development and an increase in property values.

The Cockpit in Leeds closed for “essential maintenance” in 2014 after being open for 10 years, and never re-opened its doors. The Cockpit, a venue with a 500-person capacity in its main room, hosted artists such as Amy Winehouse, the Kaiser Chiefs and the White Stripes- all now colossal icons in the ‘indie’ music scene.

Gleeson (2016) suggests that millions are made off huge shows in arena venues such as the o2 in London, but if grassroots venues aren’t preserved, there won’t be any acts to play these gigs in the future. Following this, Gleeson (2016) states that without small music venues, it’s hard to imagine a sustained and successful future for British music at all.

Case Study The 1975, a four-piece band from Wilmslow, south of Manchester hold the understanding to the masses that they had it easy- by getting signed to a giant record label and immediately had a hit single, but to fans, they understand that is wasn’t that easy for them.

In 2013, Jamie Oborne, the bands manager, set up Dirty Hit records, a record label solely for the 1975 after they were turned down by several recording labels, agents and publishers. After trying for around four years, Oborne decided to take matters into his own hands, and after releasing the band’s self-titled album on the independent label Dirty hit, it entered the UK charts and reached number one in September 2013.

Now, the 1975 are one of the biggest ‘indie’ bands to have ever been created, supporting the likes of Muse, The Neighbourhood and Bastille, and selling out two nights at London’s o2 arena in 2017.

Beth (2014) states that from the perspective of musicians, you must give them the basics in order for them to do their job, including comfortable and warm backstage rooms, plenty of time for a sound check, a respectful crew and a good sound system, following with the statement “most of these things can be achieved with common sense more than money.”

(2014). Now-a-days, venue owners are more often than not former musicians who are adoring of live music, but Beth (2014) comments on the fact that even the best of them are forced into dark alleys to survive, making compromises and potentially killing their passion for the music as it’s dragged down into the shit with them. This suggests that links could be made to the reasons music venues are closing; location, lack of interest, the economy, touch licensing laws, aggressive development and an increase in property values.

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The Music Venue Trust was founded in 2014. This is a charity to preserve, secure and improve the UK’s selection of small, mostly independently run music venues. So the question arises why are so many local, independently run music venues closing down or struggling? The website quotes “We feel this research is crucial to understanding what we can do to protect, secure and improve the UK’s grassroots music venues.”, which clearly implies that they are helping the current music venues and putting a stop to them closing- so why have over 30% of venues been shut down in the past decade? Although it is obvious that the charity won’t be able to help every single DIY, independent music venue, but there is a definite chance that 30% could have been a much lower number if what they are quoting is true.

4.3 To analyse and assess the way in which musical genres are represented in the journalism industry.

There is always negative news in the media about hardcore shows in the UK. There are destructive people attending the shows, regardless of the genre. Hardcore shows are known to have less harmful people attend the shows due to there being more support from the fans in the hardcore scene. “It’s a solid community and it’s a shame about the press” stated one participant on the questionnaire.

Looking away from hardcore, any music predominantly made by black musicians is still stereotypes as encouraging anti-social behaviour. It is discouraging to see that such comments are making an appearance in headlines today. Conservative, wealthy white people that run the media industry are thought by many to manipulate media to show ‘rap’ and ‘grime’ music in a negative light as it highlights all the wrong doings of the elites that have purposefully and perpetually segregated communities, by race and by class.

The way genres are represented in the industry, again, depends on the specific genre of a magazine. For the most part, a magazine like Kerrang! will make the mainstream out to be boring and a safe place, whereas a publication along the lines of NME may make out Metal to be the stereotypical genre of old men screaming at each other. For the most part, tabloid newspapers like to pick on trends that the younger population are latching onto and present the negatives, for example, the whole sub-culture of ‘emo’ was picked up by tabloid newspapers and shown to be a widely negative thing and almost made the allegation that the people involved in this subculture were members of a cult. Its consistently happening, simply because people are afraid of things that are different. There is also the use of a lot of derogatory language used in many sun-genres of rap that isn’t usually highlighted negative by the press, due to this being more ‘mainstream’ and this kind of genre having more of a following and popularity throughout the masses.

5. Conclusions Overall this study has proven that over 50% of participants who took time to fill out the questionnaire have a stronger knowledge on the independent music scene that most. There was no male or female separation due to this not being necessary throughout the research that took place, however the age groups were the concern. 100% of participants submitted the information that they were aged between 18-25, therefore not giving a broader view on the effects certain factors have had on the music scene and industry as a whole. Although some proved to be very aware of the issues, a broader age range of participants would have helped the study in a much stronger manner, due to an older age range having experienced some of 13

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the issues first hand when they were younger instead of just this generation. Having said this, there was enough research gathered to understand the thoughts and views of the hardcore music scene from the 1980’s onwards, including socio-economic factors such as lack of public interest, the economy, licensing laws, increased property values and aggressive development.

Due to the research findings, it has become clear that all of these factors hold a shadow over the reason for the decline over the industry. However, it could be argued that there isn’t a decline as such, just less interest shown in the efforts that are going into the independent music scene.

Not being as held up with technology and social media between the 1980’s and 2000’s made it clear that a lot of people made an effort and felt strongly about the efforts that were shown throughout the industry and the scenes in the UK. Now, technology has caught up, and people are able to listen to an artist on their mobile phone, and this can give people more of an experience than going to local shows due to the high demand for variety. The ese and availability to access the internet should mean that the music scene is stronger, but that isn’t the case.

It is clear that more advertising, stronger marketing and more variety in the scene in Leeds needs to be put into place to prevent smaller venues from struggling, as Leeds holds a vast amount of student interest for music, yet it lacks in advertisement for a variety of genres.

Altogether, Leeds and Wakefield both have a relatively strong independent music scene, with it forever changing and although venues close, newer ones appear to open. However, it could be argued that the hardcore scene is less popular now than during the 80’s due to newer venues not having the right ‘DIY’ atmosphere that they once had. It is venues like Temple of Boom and Brudenell Social Club that, in Leeds, keep the ‘rustic’, old and traditional atmosphere for hardcore fans.

Genres of music, like fashion, come in cycles. Where one area decays, another grows.

Internationally, however, the UK is seen as a hub of ‘home-grown’ talent as influences. The explosion of hardcore in recent years can not be understated and it should be celebrated as it captures and allows expression, which is clear that is what people are looking for.

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6. References

Barcella, L. (2014). No Drugs, No Drink, No Problem—Straight Edge Then and Now | The Fix. [online] The Fix. Available at: https://www.thefix.com/content/straight-edge-fugazi-ian-mackaye-hardcoresober-punk-laura-barcella2024 [Accessed 10 Jan. 2018].

Barton, L. (2017). Small music venues are dying - blame the obsession with classical music. The Guardian. [online] Available at: https://www.theguardian.com/commentisfree/2017/jul/18/small-music-venues [Accessed 10 Jan. 2018].

Bashe, P. and George-Warren, H. (2005). The Rolling Stone encyclopedia of rock & roll. New York: Fireside.

Beth, J. (2014). How the music industry can save the UK’s small venues. [online] The Guardian. Available at: https://www.theguardian.com/music/musicblog/2014/dec/18/how-musicindustry-can-save-uk-small-music-venues [Accessed 11 Jan. 2018].

Cooper, R. (2017). Fast, Loud and Furious: How Hardcore Music Began. [online] ThoughtCo. Available at: https://www.thoughtco.com/hardcore-punkmusic-2803394 [Accessed 9 Jan. 2018].

Gleeson, K. (2016). Small music venues in the UK are under threat, and we need to do something drastic about it. The Independent. [online] Available at: http://www.independent.co.uk/student/istudents/small-music-venues-in-theuk-are-under-threat-and-we-need-to-do-something-drastic-about-ita6825456.html [Accessed 10 Jan. 2018].

Haenfler, R. (2006). Straight edge - clean living youth, hardcore punk and social change. New Brunswick, NJ [u.a.] : Rutgers Univ. Press, pp.7-9, 15.

Kerrang!. (2017). Code Orange – Surviving Rock's Violent New Reality. [online] Available at: http://www.kerrang.com/the-news/k-1694-code-orangesurviving-rocks-violent-new-reality/ [Accessed 11 Jan. 2018].

Levy, A. (2008). Girl, 13, hangs herself after becoming obsessed with emo 'suicide cult' rock band. The Daily Mail. [online] Available at: http://www.dailymail.co.uk/news/article-564611/Girl-13-hangs-obsessedEmo-suicide-cult-rock-band.html [Accessed 10 Jan. 2018].

Liddicott, S. (2016). THE SIGNIFICANCE OF SMALL MUSIC VENUES IN MODERN BRITAIN. - Impakter. [online] Impakter. Available at: http://impakter.com/fate-small-music-venue-modern-britain/ [Accessed 11 Jan. 2018].

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