Thursday, February 28, 2008

NAZI is PUNK

A Nazi punk is a neo-Nazi who is part of the punk subculture. The term can also describe the kind of music they play.



Nazi punk music is similar to most other forms of punk rock, although it usually differs by having lyrics that express hatred for minority groups such as Jews, blacks, multiracial people, and homosexuals. Nazi punk bands have played several styles of punk music, including Oi!, streetpunk and hardcore punk. Nazi skinheads who play music similar to hardcore, Oi! or heavy metal are considered part of a separate genre called Rock Against Communism.

Nazi punks often wear clothing and hairstyles typically associated with the majority of the punk subculture, such as: liberty spike or Mohawk hairstyles, leather rocker jackets, boots, chains, and metal studs or spikes.

Nazi punks should not be confused with early punks, such as Sid Vicious and Siouxsie Sioux, who incorporated Nazi imagery such as Swastikas into their image purely for shock value. Many punk bands, such as Sex Pistols and Dead Kennedys, have stated that there is no place for Nazi punks in the real punk subculture. The Dead Kennedys expressed this view in their song "Nazi Punks Fuck Off!".

The history of this faction within the punk subculture dates back as early as 1978, with an organization in England called the Punk Front. This group was a youth division of the white nationalist National Front. Although the Punk Front only lasted one year, it was successful in recruiting several English punks, as well as forming a number of white power punk bands. The white power skinhead subculture (often referred to by non-racist skinheads as boneheads) took over as the leaders of the white power music movement following the demise of the Punk Front in 1979. However, the Nazi punk subculture sparked up worldwide soon after, and appeared in the United States by the early 1980s, during the rise of the hardcore punk scene.

The neo-Nazi band Skrewdriver started off as an apolitical punk rock band, although some accounts show that vocalist Ian Stuart Donaldson held racist views at the time. In the early 1980s, the white power skinhead band Brutal Attack temporarily transformed into a Nazi punk band. They said they did that in the hopes of getting public concerts booked easier, but this tactic didn't work, and they soon returned to being a racist skinhead band. The punk band The Exploited has been accused several times of being Nazi punks, due to racist remarks and behavior of the singer Wattie Buchan, and because of alleged personal connections to members of the far right. However, none of the band's song lyrics support Nazism or fascism.

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SkinHead

Skinheads, named for their close-cropped or shaven heads, are a working-class subculture that originated in the United Kingdom in the late 1960s, and then spread to other parts of the world. The first skinheads were greatly influenced by West Indian rude boys and British mods, in terms of fashion, music and lifestyle. Originally, the skinhead subculture was primarily based on those elements, not politics or race. Since then, however, attitudes toward race and politics have become factors in where skinheads align themselves. The political spectrum within the skinhead scene ranges from the far right to the far left, although many skinheads remain apolitical. Fashion-wise, skinheads range from a clean-cut 1960s mod-influenced style to less-strict punk- and hardcore-influenced styles.

In the late 1950s, the United Kingdom's entrenched class system limited most working class people's educational, housing, and economic opportunities. However, Britain's post-war economic boom led to an increase in disposable income among many young people. Some of those youths spent that income on new fashions popularised by American soul groups, British R&B bands, certain movie actors, and Carnaby Street clothing merchants.

These youths became known as the mods, a youth subculture noted for its consumerism—and devotion to fashion, music, and scooters. Mods of lesser means made do with practical styles that suited their lifestyle and employment circumstances: steel-toe boots, straight-leg jeans or Sta-Prest trousers, button-up shirts, and braces (called suspenders in the USA). When possible, these working-class mods spent their money on suits and other sharp outfits to wear at dancehalls, where they enjoyed soul, ska, bluebeat and rocksteady music.

Around 1965, a schism developed between the peacock mods (also known as smooth mods), who were less violent and always wore the latest expensive clothes, and the hard mods (also known as gang mods), who were identified by their shorter hair and more working-class image. Also known as lemonheads and peanuts, these hard mods became commonly known as skinheads by about 1968. Their shorter hair may have come about for practical reasons, since long hair can be a liability in industrial jobs and a disadvantage in streetfights. Skinheads may also have cut their hair short in defiance of the more bourgeois hippie culture popular at the time.

In addition to retaining many mod influences, early skinheads were very interested in Jamaican rude boy styles and culture, especially the music: ska, rocksteady, and early reggae (before the tempo slowed down and lyrics became focused on topics like black nationalism and Rastafarianism). Skinhead culture became so popular by 1969 that even the rock band Slade temporarily adopted the look, as a marketing strategy. The subculture gained wider notice because of a series of violent and sexually explicit novels by Richard Allen, notably Skinhead and Skinhead Escapes. Due to largescale British migration to Perth, Western Australia, many British youths in Perth joined skinhead/sharpies gangs in Medina, Rockingham, Armadale, Kelmscott, Lynwood, and Thornlie in the 1960s; forming their own Australian style.

By the 1970s, the skinhead subculture started to fade from popular culture, and some of the original skins dropped into new categories, such as the suedeheads (defined by the ability to manipulate one's hair with a comb), smoothies (often with shoulder-length hairstyles), and bootboys (with mod-length hair; associated with gangs and hooliganism).Some fashion trends returned to mod roots, reintroducing brogues, loafers, suits, and the slacks-and-sweater look.

In 1977, the skinhead subculture was revived to a notable extent after the introduction of punk rock. Most of these revival skinheads were a reaction to the commercialism of punk and adopted a sharp, smart look in line with the original look of the 1969 skinheads and included Gary Hodges and Hoxton Tom McCourt (both later of the band the 4-Skins) and Suggs, later of the band Madness. From 1979 onwards, skinheads with even shorter hair and less emphasis on traditional styles grew in numbers and grabbed media attention, mostly as a result of their involvement with football hooliganism. These skinheads wore punk-influenced styles, like higher boots than before (14-20 eyelets) and tighter jeans (sometimes splattered with bleach). However, there was still a group of skinheads who preferred the original mod-inspired styles. Eventually different interpretations of the skinhead subculture expanded beyond The UK and Europe. One major example is that in the United States, certain segments of the hardcore punk scene embraced skinhead style and developed its own version of the subculture.

Racism, anti-racism and politics

In the late 1960s, some skinheads (including black skinheads) had engaged in violence against random Pakistanis and other South Asian immigrants (an act known as Paki bashing in common slang).Although these early skinheads were not part of an organized racist movement, by the early 1970s there were skinheads who aligned themselves with the white nationalist National Front. However, there had also been anti-racist and leftist skinheads from the beginning, especially in areas such as Scotland and northern England. As the 1970s progressed, the racially-motivated skinhead violence in the UK became more partisan, and groups such as the National Front and the British Movement, saw a rise in skinheads among their ranks. Although many skinheads rejected political labels being applied to their subculture, some working class skinheads blamed non-white immigrants for economic and social problems, and agreed with far right organizations' positions against blacks and Asians.

By the late 1970s, some openly neo-Nazi groups were largely composed of skinheads, and by this point, the mass media, and subsequently the general public, had largely come to view skinheads exclusively as a subculture promoting white power.However, during the late 1970s and early 1980s, many skinheads, suedeheads, ex-skinheads and football casuals in the UK rejected the dogma of both the left and right. This anti-extremist attitude was musically typified by Oi! bands such as Cockney Rejects, The 4-Skins and The Business.

Some skinheads countered the neo-Nazi stereotype by forming anti-racist organizations, such as Skinheads Against Racial Prejudice (SHARP) which was founded in New York City in 1987 and spread to several other countries, and Anti-Racist Action (ARA), which started in Minneapolis, Minnesota in 1988. Other less-political skinheads also spoke out against neo-Nazis and in support of traditional skinhead culture. Two examples of this were the Glasgow Spy Kids in Scotland (who coined the phrase Spirit of 69), and the publishers of the Hard As Nails zine in England. In Latin America, although many skinheads do not show racist or anti-racist tendencies, many of them use the skinhead lifestyle as a refuge from poverty. In one case, a gang of skinheads in Colombia attacked and killed Julian Javier Prieto outside a club in northern Bogotá.

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THE DISTILLERS IS PUNK

The Distillers were an energetic punk rock band formed in Los Angeles in 1998. They released their first two albums on Hellcat Records/Epitaph Records before moving to Sire, part of the Warner Music Group. The Distillers were originally formed by Australian-born Brody Armstrong (later Dalle), a woman with a distinctively harsh singing voice. Ex-wife of Rancid's Tim Armstrong, Brody changed her name to "Dalle" after their divorce in 2003. Although there were significant line-up changes it was Brody who played guitar, sang, and wrote or co-wrote nearly every song on the band's three albums. Tony Bradley also played guitar and Ryan Sinn played bass.

Beginning as purveyors of aggressive punk sung at high-speed, The Distillers suffered as their second album Sing Sing Death House was branded a poor imitation of Courtney Love's Hole, although still raging furiously and still a showcase for Armstrong/Dalle.

Members Brody and Tony have formed a new band called Spinnerette.

Andy Granelli played drums and left the band in March of 2005 to pursue his other band, Darker My Love.
  • Rose "Casper" Mazzola played back-up guitar and sometimes sang. She left the band after the making of Sing Sing Death House, and played for the band Gold Cash Gold for a short while after.
  • Kim Chi played bass and left the band after the making of the self-titled record. She played on and toured for the first Original Sinners' album with Exene Cervenka of the L.A. punk band X and has since left that band. She is currently touring with Rockstar






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THE TRANSPLANT HISTORY

Transplants are an American punk rock/rap rock supergroup. They formed in 1999 when Tim Armstrong of the band Rancid played his friend and roadie Rob Aston some beats he had made using Pro Tools and asked Rob if he would consider contributing lyrics. Initially, Tim played all the instruments himself but as the project grew, he invited musician friends such as Matt Freeman (Rancid), Lars Frederiksen (Rancid), and Vic Ruggiero (The Slackers) to add to the sound. Before long, Tim and Rob decided to officially form a band, but to make things complete, they wanted a drummer, so Travis Barker from Blink-182 was asked to join in 2002.

Tim first became inspired to work with loops and samples after being introduced to London's speed/garage scene by Kerrang! magazine writer Mörat in the mid-90s.

The group's music is a combination of hip hop, reggae, drum n bass, dub, and punk, but not necessarily all at once. Although many are used sparingly throughout the album, punk and rap remain as the prominent styles. Lyrically, Rob Aston describes their songs as ranging from topics such as murder ("Quick Death") to the passing of a loved one ("Sad But True") to failed friendships ("We Trusted You").

After the release of their first album, The Transplants briefly disbanded in 2003, due to all members being involved in their own projects, including Rancid and blink-182. Then in 2004, they reunited to record their second album (Haunted Cities) before going on a hiatus again.

After two years of recording, The Transplants released their debut album Transplants on Hellcat Records in October 2002. In the end, the album was recorded and mixed entirely in Tim's basement. Special guest vocalists included Eric Ozenne (The Nerve Agents), Davey Havok (AFI), Son Doobie, Danny Diablo, Lars Frederiksen (Rancid) and Brody Dalle (The Distillers, ex-wife of Tim). Brody sings on the track "Weigh On My Mind", which Tim then described as "their song." The singles "Diamonds and Guns" and "D.J. D.J." quickly became MTV favorites and earned the band critical and commercial success. "Diamonds and Guns" and its unmistakable piano hook played by co-producer Dave Carlock continues to win new fans through TV commercials for Garnier Fructis shampoo and Neutrogena. The song was also featured on the soundtrack for the movie Bulletproof Monk (2003). The band followed up the record's success by touring with the Foo Fighters.[citation needed]

By 2003, the band had temporarily disbanded, while Travis worked on the upcoming Blink-182 album, and Tim worked on Rancid's Indestructible.

Haunted Cities

In 2004, during an extensive Rancid hiatus, Armstrong decided to bring the Transplants back together. The band's second album, titled Haunted Cities, was released in June 2005, just four months after Barker's former band blink-182 announced their hiatus.

The album's first and only single, "Gangsters and Thugs" was a hit and the band began touring on the 2005 Warped Tour. After the Warped Tour, the Transplants started to plan a large North American tour with Pennywise and wanted to release a second single. The band had even shot a video for the upcoming single "What I Can't Describe." However, these plans were cut short due to Armstrong reportedly suffering from exhaustion. Break-up rumors began to swirl. A second single off the album was never (officially) released.

Amidst all the turmoil, the band released the screwed and chopped version of Haunted Cites on November 1, 2005, a very first for a rock album.

Soon after the cancellation of the North American tour, two band members announced several more side projects that they would be embarking on during the Transplants break. Travis revealed that he would be starting a tour with DJ AM and also a new band with Rob and DJ Paul Wall which would become Expensive Taste. Rob Aston revealed that he was working on a solo album.

In an interview with Rob Aston and Paul Wall on January 16, 2006 about their project, Expensive Taste, Rob stated "The Warped Tour had just ended and Transplants had just broken up"
source : wikipedia

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