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A skinhead or skin is a member of a subculture that originated among working-class youths in London, England, in the 1960s. It soon spread to other parts of the United Kingdom, with a second working-class skinhead movement emerging worldwide in the late 1970s. Motivated by social alienation and working-class solidarity, skinheads are defined by their close-cropped or shaven heads and working-class clothing such as Dr. Martens and steel toe work boots, braces, high rise and varying length straight-leg jeans, and button-down collar shirts, usually slim fitting in check or plain. The movement reached a peak at the end of the 1960s, experienced a revival in the 1980s, and, since then, has endured in multiple contexts worldwide.
Skinheads Against Racial Prejudice (SHARP) are anti-racist skinheads who oppose white power skinheads, neo-fascists and other political racists, particularly if they identify themselves as skinheads. SHARPs claim to reclaim the original multicultural identity of the original skinheads, hijacked by white power skinheads, who they sometimes deride as "boneheads".
Ian Stuart Donaldson, also known as Ian Stuart, was an English neo-Nazi musician. He was best known as the front-man of Skrewdriver, a punk band which, from 1983 onwards, he rebranded as a White power and Rock Against Communism band. He raised money through white power concerts with his Blood & Honour network.
Blood & Honour is a neo-Nazi music promotion network and right-wing extremist political group founded in the United Kingdom by Ian Stuart Donaldson and Nicky Crane in 1987. It is composed of White Nationalists and has links to Combat 18.
Rock Against Communism (RAC) was the name of white power rock concerts in the United Kingdom in the late 1970s and early 1980s, and has since become the catch-all term for music with racist lyrics as well as a specific genre of rock music derived from Oi!. The lyrics can focus on racism and antisemitism, though this depends on the band.
Anti-Racist Action (ARA), also known as the Anti-Racist Action Network, is a decentralized network of militant far-left political cells in the United States and Canada. The ARA network originated in the late 1980s to engage in direct action and doxxing against rival political organizations on the hard right to dissuade them from further involvement in political activities. Anti-Racist Action described such groups as racist or fascist, or both. Most ARA members have been anarchists, but some have been Trotskyists and Maoists.
Graveland are a Polish neo-Nazi pagan black metal band which was formed in 1991 by Rob Darken. They began as a black metal band before adopting a pagan and Viking metal style. The lyrics and imagery of Graveland are strongly inspired by European mythology, nature, winter and war. Their early work focused on Celtic and Slavic mythology, while their later work focuses on Norse mythology and Wotanism.
Sol Invictus are a British neofolk band formed by Tony Wakeford in 1987. Wakeford has been the sole constant member of the group since its inception, although numerous musicians have contributed and collaborated with him under the Sol Invictus name over the years.
Anthony Charles Wakeford is a British neofolk musician, who primarily records under the name Sol Invictus. He is also a member of the punk rock band Crisis and a co-founder of Death in June.
White power skinheads, also known as racist skinheads and neo-Nazi skinheads, are members of a neo-Nazi, white supremacist and antisemitic offshoot of the skinhead subculture. Many of them are affiliated with white nationalist organizations and some of them are members of prison gangs. The movement emerged in the United Kingdom between the late 1960s and the late 1970s, before spreading across Eurasia and North America in the 1980–1990s.
Rock-O-RamaRecords was a Cologne-based German independent record label that operated between 1980 and 1994, established and run by Herbert Egoldt. Though initially dedicated to releasing and distributing left-wing or apolitical German and international punk and hardcore, Rock-O-Rama became a leading label for white power rock and Rock Against Communism from the middle of the 1980s. Following a 1993 police raid, Egoldt closed the label in 1994 under the threat of legal action from German authorities.
Skullhead was a nationalist Oi! band from the Newcastle area. It was part of the Rock Against Communism (RAC) movement.
Ultima Thule is a Swedish rock band. Their style is based on what they call Vikingarock, which combines occasional folk melodies with rock, mixed with Oi!, street punk and Teddy Boy. Some of their lyrics are versions of poems and traditional songs by Evert Taube, such as "Änglamark". They have also released several versions of Sweden's national anthem, "Du gamla, Du fria'". They have been described as a white power band, though ethnomusicologist Benjamin R. Teitelbaum argues that this classification is much too simplistic. The band also rejects the description, saying they oppose fascism and racism.
Skrewdriver were an English punk rock band formed by Ian Stuart Donaldson in Poulton-le-Fylde, Lancashire, in 1976. Originally a punk band, Skrewdriver changed into a white power skinhead rock band after reuniting in the 1980s. Their original line-up split in January 1979 and Donaldson reformed the band with different musicians in 1982. This new version of the band played a leading role in the Rock Against Communism movement.
Crisis are an English punk rock band formed in 1977 in Guildford, Surrey. An openly left-wing and anti-fascist band, they performed at rallies for Rock Against Racism and the Anti-Nazi League, and at Right to Work marches. British music magazine Sounds used the phrase "Music to March To" to describe their controversial and radical left-wing form of music.
Rebelles Européens was a French independent record label that operated between 1987 and 1994, specialising in white power rock and Rock Against Communism. Based in the port city of Brest, the label was founded by Gaël Bodilis, a member of far-right groups including the Front Nationale Jeunesse, Troisième Voie, and PNFE. Rebelles Européens was, alongside German label Rock-O-Rama Records, a key player within the international white power skinhead music scene during the late 1980s and early 1990s. Unlike Rock-O-Rama, whose owner was apolitical and commercially minded, Bodilis primarily conceived of Rebelles Européens as a means for spreading neo-fascist ideology, and denied any interest in the profitability of his enterprise. Rebelles Europeéns was notable for its brazen inclusion of Nazi and white-supremacist symbols on album covers; Robert Forbes and Eddie Stampton suggest that the label "seemed to operate without regard to the law". After a pause on production in 1993, Rebelles Europeéns went out of business in 1994, with Australian label White League reissuing a small number of their releases on CD in 1995.
Oi! is a subgenre of punk rock that originated in the United Kingdom in the late 1970s. The music and its associated subculture had the goal of bringing together punks, skinheads, and other disaffected working-class youth. The movement was partly a response to the perception that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic... and losing touch."
Clark Reid Martell is an American white supremacist and the former leader of Chicago Area SkinHeads (CASH), which was founded in 1985 by six skinheads under his leadership. This was the first organized neo-Nazi white power skinhead group in the United States. The group was also called Romantic Violence, and was the first US distributor of records and tapes from the English band Skrewdriver.
White power music is music that promotes white nationalism. It encompasses various music styles, including rock, country, and folk. Ethnomusicologist Benjamin R. Teitelbaum argues that white power music "can be defined by lyrics that demonize variously conceived non-whites and advocate racial pride and solidarity. Most often, however, insiders conceptualized white power music as the combination of those themes with pounding rhythms and a charging punk or metal-based accompaniment." Genres include Nazi punk, Rock Against Communism, National Socialist black metal, and fashwave.
References
- ↑ Forbes, Robert; Stampton, Eddie (2015). The white nationalist skinhead movement : UK & USA, 1979-1993. Feral House. p. 184. ISBN 978-1-62731-024-6. OCLC 908072099.
- ↑ Shaffer, Ryan (2017). Music, Youth and International Links in Post-War British Fascism: The Transformation of Extremism. Palgrave Macmillan. p. 149. ISBN 978-3-319-59667-9.
- ↑ Forbes and Stampton (2015), p. 235.
- ↑ Forbes and Stampton (2015), p. 235.
- ↑ Forbes and Stampton (2015), p. 253.
- ↑ Shaffer (2017), p. 127.
- ↑ Forbes and Stampton (2015), p. 256.
- 1 2 3 4 5 Raposo, Ana; Bestley, Russ (1 November 2020). "Designing fascism: The evolution of a neo-Nazi punk aesthetic". Punk & Post-Punk. 9 (3): 467–498. doi:10.1386/punk_00039_1. ISSN 2044-1983. S2CID 226680220.
- ↑ Forbes and Stampton (2015), p. 281.
- ↑ Gorrell, Adam C. Sound and fury : skinheads, neo-Nazis, and white-power punk rock. OCLC 1032830523.
- ↑ Cotter, John M. (1999). "Sounds of hate: White power rock and roll and the neo‐nazi skinhead subculture". Terrorism and Political Violence. 11 (2): 111–140. doi:10.1080/09546559908427509. ISSN 0954-6553.
- ↑ Demsky, Jeffrey (2021), "Why All the Swastikas?: UK Rock Stars' Nazi/Holocaust Encounters, 1960s–1980s", Nazi and Holocaust Representations in Anglo-American Popular Culture, 1945–2020, Palgrave Studies in Cultural Heritage and Conflict, Cham: Springer International Publishing, pp. 47–66, doi:10.1007/978-3-030-79221-3_4, ISBN 978-3-030-79220-6, S2CID 238923137 , retrieved 12 March 2023
- ↑ Forbes and Stampton (2015), p. 285, 334.
- ↑ Forbes and Stampton (2015), p. 372.
- ↑ Forbes and Stampton (2015), p. 334.
- ↑ Forbes and Scrampton (2015), p. 391.
- ↑ Burke, Kyle (2021), "It's a white fight and we've got to win it: culture, violence, and the transatlantic far right since the 1970s", Global White Nationalism: From Apartheid to Trump, Manchester: Manchester University Press, pp. 262–300, ISBN 9781526147066
- ↑ Forbes and Stampton (2015), p. 418, 461.
- ↑ Dyck, Kirsten (2016). Reichsrock: the international web of white-power and Neo-Nazi hate music. Rutgers University Press. p. 24. ISBN 978-0-8135-7471-4. OCLC 937999084.
- ↑ N. Lowles, "White Riot: The Violent Story of Combat 18", Milo Books, 2001
- 1 2 Dyck (2016), p. 24.
- ↑ Shekhovtsov, Anton (2013), "European Far-Right Music and Its Enemies", Analysing Fascist Discourse: European Fascism in Talk and Text, Routledge, p. 283, ISBN 978-0-415-89919-2
- ↑ "Policing far-right terror". Searchlight. June 1999. Archived from the original on 18 June 2004.
{{cite web}}: CS1 maint: bot: original URL status unknown (link) - ↑ "£2000 was for gigs not racist CDs". Jersey Evening Post. 21 November 2009.
- ↑ "Tattooist acquitted of racial hate plot". Jersey Evening Post. 27 November 2009.
- ↑ Allchorn, William (2022). Moving beyond Islamist Extremism: Assessing Counter Narrative Responses to the Global Far Right. ibidem Press. p. 68. ISBN 9783838214900.
