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White power music

May 06, 2023

Not to be confused with White metal.

White power music is music that promotes white nationalism. It encompasses various music styles, including rock, country, and folk.[1][2] 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."[3] Genres include Nazi punk, Rock Against Communism, National Socialist black metal,[2] and fashwave.[4][5]

Barbara Perry writes that contemporary white supremacist groups include "subcultural factions that are largely organized around the promotion and distribution of racist music."[6] According to the Human Rights and Equal Opportunity Commission "racist music is principally derived from the far-right skinhead movement and, through the Internet, this music has become perhaps the most important tool of the international neo-Nazi movement to gain revenue and new recruits."[7][8] An article in Popular Music and Society says "musicians believe not only that music could be a successful vehicle for their specific ideology but that it also could advance the movement by framing it in a positive manner."[1]

Dominic J. Pulera writes that the music is more pervasive in some countries in Europe than it is in the United States, despite some European countries banning or curtailing its distribution.[2] European governments regularly deport "extremist aliens", ban white power bands and raid organizations that produce and distribute the music.[2] In the United States, racist music is protected freedom of speech in the United States by the First Amendment to the U.S. Constitution.[9]

White power country music

Several subgenres of white power music have been spawned, including country music — also referred to as segregationist music — which was developed in response to the American civil rights movement.[1][10] The songs expressed resistance to the federal government and civil rights advocates who were challenging well-established white supremacist practices which were endemic in the American South.[1] During the 1940s and 1950s, changes also occurred in the music recording industry that allowed regional recording companies to form across the United States, addressing small specialized markets.[11] B.C. Malone writes: "the struggles waged by black Americans to attain economic dignity and racial justice provided one of the ugliest chapters in country music history, an outpouring of racist records on small labels, mostly from Crowley, Louisiana, which lauded the Ku Klux Klan and attacked African-Americans in the most vicious of stereotypical terms."[1][12]

The artists often adopted pseudonyms, and some of their music was "highly confrontational, making explicit use of racial epithets, stereotypes and threats of violence against civil rights activists.[1] Much of the music "featured blatantly racist stereotypes that dehumanized African Americans", equating them with animals or "using cartoonish imagery associated with "Jigaboos"".[1] Lyrics warned of white violence on African Americans if they insisted on being treated as equals.[1] Other songs were more subtle, couching racist messages behind social critiques and political action calls.[1] The lyrics, in the tradition of right-wing populism, questioned the legitimacy of the federal government and rallied whites to protect "Southern rights" and traditions.[1] The song "Black Power" includes the lyrics:

The ones who shout "Black Power"
Would bury you and me.
Yeah, the ones who shout "Black Power"
Should let our country be...
White men stand together and register to vote.
Don't let them take away our land.
We've still got lots of hope.[1]

Reb Rebel Records

In 1966, businessman Jay "J.D." Miller created a niche record label for his company, the defiantly segregationist Reb Rebel Records. It was arguably the most notable of the racist country music record labels.[1][11][13] Reb Rebel released 21 singles and For Segregationists Only, an album of its ten bestselling songs, four of which were Johnny Rebel's.[14][15] The label's first single, "Dear Mr. President" (referring to then-president Lyndon B. Johnson), by Happy Fats (Leroy Leblanc), sold more than 200,000 copies.[13][14] The song parodied Johnson's Great Society programs, which aimed to eliminate poverty and racial injustice.[14] Other songs were primarily about civil rights or the Vietnam War, "but they never really attacked black people."[14] The studio's second release, "Flight NAACP 105" by "the Son of Mississippi" (Joe Norris), was the label's bestseller; the track was a "spontaneous skit in the vein of Amos 'n' Andy."[14] It was the first in a series of "highly racist take-offs" of Amos n' Andy.[1] Few of Miller's racist records were played on the radio in Louisiana.[1][16]

Johnny Rebel

Johnny Rebel, the pseudonym that Cajun country musician Clifford Joseph Trahane used on racist recordings issued in the 1960s, became the "forefather of white power music."[14][15][17] Johnny Rebel's six singles (12 songs altogether), frequently use the racial epithet nigger, and often voiced sympathy for racial segregation and the Ku Klux Klan (KKK), such as his first B-side "Kajun Ku Klux Klan", which was a "cautionary tale centered on the story of 'Levi Coon' who dared to demand that he be served in a café."[1][14][18] The songs were "vehemently anti-black, its pro-segregationist lyrics set to the twangs of the era's swampbilly craze."[14]

Because of bootlegged records and Internet interest, Johnny Rebel's career continued; in the late 1990s he was rediscovered, and he re-released his music on CD and promoted it with his own website.[14] The site, however, did not spark new interest outside his fanbase until September 11 attacks of 2001.[14] Johnny Rebel recorded and released "Infidel Anthem", about "the whipping America should lay on Osama bin Laden," leading to an appearance on The Howard Stern Show, where his new compilation CD and the new song were promoted.[14] At the time, Stern's show had a peak audience of around 20 million.[19][20][21]

Michael Wade argues that Johnny Rebel "influenced British racist musicians, notably the band Skrewdriver, which inspired other right-wing musicians".[22]

White power rock

Nazi punk music is stylistically similar to most forms of punk rock, although it differs by having lyrics that express hatred of Jews, homosexuals, communists, anarchists, anti-racists and people who are not considered white, as opposed to the often left-wing lyrics of punk rock. In 1978 in Britain, the white nationalist National Front (NF) had a punk-oriented youth organization called the Punk Front.[23] Although the Punk Front only lasted one year, it included a number of white power punk bands such as The Dentists, The Ventz, Tragic Minds and White Boss.[23][24] The Nazi punk subculture appeared in the United States by the early 1980s during the rise of the hardcore punk scene.[25][26]

The Rock Against Communism movement originated in the British punk scene in late 1978 with activists associated with the NF. The most notable RAC band was Skrewdriver, which started out as a non-political punk band but evolved into a white power skinhead band after the original lineup broke up and a new lineup was formed.[27] They were the "most dominant white racial extremist band" and were idealized in the "emerging movement that arose in response to perceptions of political liberalism, diversity, and the loss of a power in the white community."[1] Skrewdriver advocated on behalf of extreme right-wing and racist politics, and its frontman Ian Stuart Donaldson identified himself as a neo-Nazi.[1] The group performed mainly for other white power skinheads and "asserted the need for extremist political violence."[1] Bands that followed their lead also "fused racist ideology, heavy metal and hard rock styles", embracing "aggressive racism and ethnic nationalism".[1]

National Socialist black metal (NSBM) is black metal that promotes National Socialist (Nazi) beliefs through their lyrics and imagery. These beliefs often include: white supremacy, racial separatism, antisemitism, heterosexism, and Nazi interpretations of paganism or Satanism (Nazi mysticism). According to Mattias Gardell, NSBM musicians see "national socialism as a logical extension of the political and spiritual dissidence inherent in black metal.[28] Bands whose members hold Nazi beliefs but do not express these through their lyrics are generally not considered NSBM by black metal musicians, but are labelled as such in media reports.[29] Some black metal bands have made references to Nazi Germany purely for shock value, much like some punk rock and heavy metal bands. According to Christian Dornbusch and Hans-Peter Killguss, völkisch pagan metal and neo-Nazism are the current trends in the black metal scene, and are affecting the broader metal scene.[30] Mattias Gardell, however, sees NSBM artists as a minority within black metal.[28]

See also

References

  1. ^ a b c d e f g h i j k l m n o p q r s Messner et al. 2007.
  2. ^ a b c d Pulera, Dominic J.,Sharing the Dream: White Males in a Multicultural America, pp. 309-311.
  3. ^ Teitelbaum, Benjamin R. (2014). "Saga's Sorrow: Femininities of Despair in the Music of Radical White Nationalism". Ethnomusicology. 58 (3): 405–430. doi:10.5406/ethnomusicology.58.3.0405. JSTOR 10.5406/ethnomusicology.58.3.0405.
  4. ^ Hann, Michael (December 14, 2016). "'Fashwave': synth music co-opted by the far right". The Guardian. from the original on December 20, 2016.
  5. ^ Farrell, Paul (March 18, 2018). "Fashwave: 5 Fast Facts You Need to Know". Heavy.com. from the original on May 23, 2020. Retrieved March 5, 2020.
  6. ^ Perry, Barbara, Hate Crimes (Greenwood Publishing Group, 2009) ISBN 0-275-99569-0, ISBN 978-0-275-99569-0, pp. 51-2.
  7. ^ "Racist Music: Publication, Merchandising and Recruitment", Cyber racism, Race Discrimination Unit, HREOC, October 2002.
  8. ^ Rooney, Anne, Race Hate(Evans Brothers, 2006), ISBN 0-237-52717-0, ISBN 978-0-237-52717-4, p. 29.
  9. ^ Eatwell, Roger and Cas Mudde, Western democracies and the new extreme right challenge (Psychology Press, 2004) ISBN 0-415-36971-1, ISBN 978-0-415-36971-8, pp. 54-5.
  10. ^ Malone, 2000a, 2002b.
  11. ^ a b Tucker, 1985.
  12. ^ Malone (2002a), p. 317.
  13. ^ a b Herman, 2006.
  14. ^ a b c d e f g h i j k Pittman, Nick, "", in: Times of Acadiana, Lafayette, Louisiana, ca. 2000.
  15. ^ a b Broven, John, South to Louisiana: The Music of the Cajun Bayous (Gretna, Louisiana: Pelican, 1983) p. 252, ISBN 0-88289-608-3
  16. ^ Malone (2002b) and Pittman (2003).
  17. ^ Bernard, Shane K.,The Cajuns: Americanization of a People (Jackson, Miss: University Press of Mississippi, 2003) p. 63.
  18. ^ Pittman, 2003; Johnny Rebel – Klassic Klan Kompositions.
  19. ^ Condran, Ed (July 31, 1998). "Stern Producer Flourishes By The Skin Of His Teeth". The Morning Call.
  20. ^ James, Renee A. (October 1, 2006). "Hmmm? Stern's critics are plugged into regular radio". The Morning Call.
  21. ^ Sullivan, James (December 14, 2005). "Love him or hate him, Stern is a true pioneer". Today.com.
  22. ^ Wade, Michael (October 2007). "Johnny Rebel and the Cajun Roots of Right‐Wing Rock". Popular Music and Society. 30 (4): 493–512. doi:10.1080/03007760701546364. S2CID 144219004.
  23. ^ a b Reynolds, Simon (2006). Rip It Up and Start Again: Postpunk 1978–1984. Penguin. p. 65. ISBN 978-0-14-303672-2.
  24. ^ Sabin, Roger (1999). Punk Rock, So What?: The Cultural Legacy of Punk. Routledge. pp. 207–208. ISBN 978-0-203-75664-5.
  25. ^ Andersen, Mark. Dance of Days: Two Decades of Punk in the Nation's Capital. Akashic Books, 2003. p. 159
  26. ^ Flynn, Michael. Globalizing the Streets. Columbia University Press, 2008. p. 191
  27. ^
    *"Skrewdriver- A Fan's View". Punk77.co.uk. Retrieved 31 August 2010..
    "Skrewdriver- Press Cuttings". Punk77.co.uk. Retrieved 31 August 2010..
    Diamond in the Dust – The Ian Stuart Biography 2009-04-27 at the Wayback Machine
  28. ^ a b Mattias Gardell, Gods of the Blood (2003), p.307
  29. ^ Rechtes Neuheiden-Festival mit Nazi-Runen im "SO 36"
  30. ^ Unheilige Allianzen, page 290

Bibliography

  • Apel, W. (1969). Harvard Dictionary of Music, Cambridge, MA, Harvard University Press.
  • Brake, M. (1980). The Sociology of Youth Culture and Youth Subcultures, Sex and Drugs and Rock 'n' Roll?, London, Routledge & Kegan Paul.
  • Fox, Kathryn Joan (October 1987). "Real Punks and Pretenders: The Social Organization of a Counterculture". Journal of Contemporary Ethnography. 16 (3): 344–370. doi:10.1177/0891241687163006. S2CID 145309467. ProQuest 1292921337.
  • Fryer, Paul (January 1986). "Punk and the new wave of British rock: Working class heroes and art school attitudes". Popular Music and Society. 10 (4): 1–15. doi:10.1080/03007768608591255.
  • Grout, D.J. (1960). A History of Western Music, New York; W.W. Norton & Co.
  • Hebdige, Dick. (1979). Subculture: The Meaning of Style; London, Methuen; Fletcher & Son ltd, 1979..
  • Johnny Rebel – Klassic Klan Kompositions. (2003). Retrieved February 1, 2006.
  • Joseph, Branden W. (2002). "'My Mind Split Open': Andy Warhol's Exploding Plastic Inevitable". Grey Room. 8 (8): 81–107. doi:10.1162/15263810260201616. JSTOR 1262609. S2CID 57560227.
  • Lawler, J. (1996). Songs of life: The meaning of country music. Nashville, TN: Pogo Press.
  • Leroy "Happy Fats" LaBlanc. (no date). Cajun French Music Association. Retrieved June 17, 2006.
  • Mackay, J. (1993). Populist ideology and country music. In G. H. Lewis (Ed.), All that Glitters: Country Music in America (pp. 285–304). Bowling Green, OH: Bowling Green State University Popular Press.
  • Malone, B. C. (2002a). Country Music, U.S.A. (2 nd ed,). Austin, TX: University of Texas Press.
  • Malone, B. C. (2002b). Don't Get Above Your Raisin': Country Music and the Southern Working Class. Chicago, IL: University of Illinois Press.
  • Messner, Beth A.; Jipson, Art; Becker, Paul J.; Byers, Bryan (October 2007). "The Hardest Hate: A Sociological Analysis of Country Hate Music". Popular Music and Society. 30 (4): 513–531. doi:10.1080/03007760701546380. S2CID 143477219. ProQuest 208063554.
  • Pittman, N. (2003). Johnny Rebel Speaks. Retrieved February 1, 2006, from "Present at the Creation." (2001, Fall). Southern Poverty Law Center Intelligence Report. Accessed November 1, 2006.
  • Sample, T. (1996). White soul: Country music, the church, and working Americans. Nashville, TN: Abingdon Press.
  • Tucker, Stephen R. "Louisiana Folk And Regional Popular Music Traditions On Records And The Radio: An Historical Overview With Suggestions For Future Research". Louisiana Folklife Program.

Further reading

  • Shekhovtsov, Anton, and Jackson, Paul (eds) (2012), White Power Music: Scenes of Extreme-Right Cultural Resistance. Ilford: Searchlight and RNM Publications.
  • Farmelo, Allen (March 2001). "Another history of bluegrass: The segregation of popular music in the United States, 1820–1900". Popular Music and Society. 25 (1–2): 179–203. doi:10.1080/03007760108591792. S2CID 190723735.
  • Hill, Jane H. (2008). The Everyday Language of White Racism. Malden, MA: Wiley-Blackwell.
  • Musial, Jennifer (2019). "'We're Country': Britney Spears, Southern White Femininity, and the American Dream". Feminist Formations. 31 (3): 72–94. doi:10.1353/ff.2019.0031. S2CID 213339976. Project MUSE 748842 ProQuest 2368696622.

May 06, 2023
white, power, music, confused, with, white, metal, this, article, multiple, issues, please, help, improve, discuss, these, issues, talk, page, learn, when, remove, these, template, messages, this, article, section, possibly, contains, synthesis, material, whic. Not to be confused with White metal This article has multiple issues Please help improve it or discuss these issues on the talk page Learn how and when to remove these template messages This article or section possibly contains synthesis of material which does not verifiably mention or relate to the main topic Relevant discussion may be found on the talk page April 2011 Learn how and when to remove this template message This article may require cleanup to meet Wikipedia s quality standards No cleanup reason has been specified Please help improve this article if you can April 2011 Learn how and when to remove this template message Learn how and when to remove this template message White power music is music that promotes white nationalism It encompasses various music styles including rock country and folk 1 2 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 3 Genres include Nazi punk Rock Against Communism National Socialist black metal 2 and fashwave 4 5 Barbara Perry writes that contemporary white supremacist groups include subcultural factions that are largely organized around the promotion and distribution of racist music 6 According to the Human Rights and Equal Opportunity Commission racist music is principally derived from the far right skinhead movement and through the Internet this music has become perhaps the most important tool of the international neo Nazi movement to gain revenue and new recruits 7 8 An article in Popular Music and Society says musicians believe not only that music could be a successful vehicle for their specific ideology but that it also could advance the movement by framing it in a positive manner 1 Dominic J Pulera writes that the music is more pervasive in some countries in Europe than it is in the United States despite some European countries banning or curtailing its distribution 2 European governments regularly deport extremist aliens ban white power bands and raid organizations that produce and distribute the music 2 In the United States racist music is protected freedom of speech in the United States by the First Amendment to the U S Constitution 9 Contents 1 White power country music 1 1 Reb Rebel Records 1 2 Johnny Rebel 2 White power rock 3 See also 4 References 5 Bibliography 6 Further readingWhite power country music EditSeveral subgenres of white power music have been spawned including country music also referred to as segregationist music which was developed in response to the American civil rights movement 1 10 The songs expressed resistance to the federal government and civil rights advocates who were challenging well established white supremacist practices which were endemic in the American South 1 During the 1940s and 1950s changes also occurred in the music recording industry that allowed regional recording companies to form across the United States addressing small specialized markets 11 B C Malone writes the struggles waged by black Americans to attain economic dignity and racial justice provided one of the ugliest chapters in country music history an outpouring of racist records on small labels mostly from Crowley Louisiana which lauded the Ku Klux Klan and attacked African Americans in the most vicious of stereotypical terms 1 12 The artists often adopted pseudonyms and some of their music was highly confrontational making explicit use of racial epithets stereotypes and threats of violence against civil rights activists 1 Much of the music featured blatantly racist stereotypes that dehumanized African Americans equating them with animals or using cartoonish imagery associated with Jigaboos 1 Lyrics warned of white violence on African Americans if they insisted on being treated as equals 1 Other songs were more subtle couching racist messages behind social critiques and political action calls 1 The lyrics in the tradition of right wing populism questioned the legitimacy of the federal government and rallied whites to protect Southern rights and traditions 1 The song Black Power includes the lyrics The ones who shout Black Power Would bury you and me Yeah the ones who shout Black Power Should let our country be White men stand together and register to vote Don t let them take away our land We ve still got lots of hope 1 Reb Rebel Records Edit In 1966 businessman Jay J D Miller created a niche record label for his company the defiantly segregationist Reb Rebel Records It was arguably the most notable of the racist country music record labels 1 11 13 Reb Rebel released 21 singles and For Segregationists Only an album of its ten bestselling songs four of which were Johnny Rebel s 14 15 The label s first single Dear Mr President referring to then president Lyndon B Johnson by Happy Fats Leroy Leblanc sold more than 200 000 copies 13 14 The song parodied Johnson s Great Society programs which aimed to eliminate poverty and racial injustice 14 Other songs were primarily about civil rights or the Vietnam War but they never really attacked black people 14 The studio s second release Flight NAACP 105 by the Son of Mississippi Joe Norris was the label s bestseller the track was a spontaneous skit in the vein of Amos n Andy 14 It was the first in a series of highly racist take offs of Amos n Andy 1 Few of Miller s racist records were played on the radio in Louisiana 1 16 Johnny Rebel Edit Johnny Rebel the pseudonym that Cajun country musician Clifford Joseph Trahane used on racist recordings issued in the 1960s became the forefather of white power music 14 15 17 Johnny Rebel s six singles 12 songs altogether frequently use the racial epithet nigger and often voiced sympathy for racial segregation and the Ku Klux Klan KKK such as his first B side Kajun Ku Klux Klan which was a cautionary tale centered on the story of Levi Coon who dared to demand that he be served in a cafe 1 14 18 The songs were vehemently anti black its pro segregationist lyrics set to the twangs of the era s swampbilly craze 14 Because of bootlegged records and Internet interest Johnny Rebel s career continued in the late 1990s he was rediscovered and he re released his music on CD and promoted it with his own website 14 The site however did not spark new interest outside his fanbase until September 11 attacks of 2001 14 Johnny Rebel recorded and released Infidel Anthem about the whipping America should lay on Osama bin Laden leading to an appearance on The Howard Stern Show where his new compilation CD and the new song were promoted 14 At the time Stern s show had a peak audience of around 20 million 19 20 21 Michael Wade argues that Johnny Rebel influenced British racist musicians notably the band Skrewdriver which inspired other right wing musicians 22 White power rock EditNazi punk music is stylistically similar to most forms of punk rock although it differs by having lyrics that express hatred of Jews homosexuals communists anarchists anti racists and people who are not considered white as opposed to the often left wing lyrics of punk rock In 1978 in Britain the white nationalist National Front NF had a punk oriented youth organization called the Punk Front 23 Although the Punk Front only lasted one year it included a number of white power punk bands such as The Dentists The Ventz Tragic Minds and White Boss 23 24 The Nazi punk subculture appeared in the United States by the early 1980s during the rise of the hardcore punk scene 25 26 The Rock Against Communism movement originated in the British punk scene in late 1978 with activists associated with the NF The most notable RAC band was Skrewdriver which started out as a non political punk band but evolved into a white power skinhead band after the original lineup broke up and a new lineup was formed 27 They were the most dominant white racial extremist band and were idealized in the emerging movement that arose in response to perceptions of political liberalism diversity and the loss of a power in the white community 1 Skrewdriver advocated on behalf of extreme right wing and racist politics and its frontman Ian Stuart Donaldson identified himself as a neo Nazi 1 The group performed mainly for other white power skinheads and asserted the need for extremist political violence 1 Bands that followed their lead also fused racist ideology heavy metal and hard rock styles embracing aggressive racism and ethnic nationalism 1 National Socialist black metal NSBM is black metal that promotes National Socialist Nazi beliefs through their lyrics and imagery These beliefs often include white supremacy racial separatism antisemitism heterosexism and Nazi interpretations of paganism or Satanism Nazi mysticism According to Mattias Gardell NSBM musicians see national socialism as a logical extension of the political and spiritual dissidence inherent in black metal 28 Bands whose members hold Nazi beliefs but do not express these through their lyrics are generally not considered NSBM by black metal musicians but are labelled as such in media reports 29 Some black metal bands have made references to Nazi Germany purely for shock value much like some punk rock and heavy metal bands According to Christian Dornbusch and Hans Peter Killguss volkisch pagan metal and neo Nazism are the current trends in the black metal scene and are affecting the broader metal scene 30 Mattias Gardell however sees NSBM artists as a minority within black metal 28 See also EditGeorge Burdi Coon song Das Judenthum in der Musik Jewishness in Music an essay by the German composer Richard Wagner Far right politics Far right subcultures Landser band List of Fascist movements List of Ku Klux Klan organizations List of National Socialist black metal bands List of neo Nazi bands List of neo Nazi organizations List of organizations designated by the Southern Poverty Law Center as hate groups Neo Nazi List of white nationalist organizations Louis and the Nazis a 2003 documentary about American neo Nazis which was produced and hosted by Louis Theroux Prussian Blue duo Johnny Rebel singer Resistance Records Westboro Baptist Church music parodies homophobic and occasionally antisemitic and anti Catholic songs by the Westboro Baptist Church which are also considered hate music Radical right Europe Radical right United States Right wing populism Right wing terrorism Terrorism in the United States Domestic terrorism in the United StatesReferences Edit a b c d e f g h i j k l m n o p q r s Messner et al 2007 a b c d Pulera Dominic J Sharing the Dream White Males in a Multicultural America pp 309 311 Teitelbaum Benjamin R 2014 Saga s Sorrow Femininities of Despair in the Music of Radical White Nationalism Ethnomusicology 58 3 405 430 doi 10 5406 ethnomusicology 58 3 0405 JSTOR 10 5406 ethnomusicology 58 3 0405 Hann Michael December 14 2016 Fashwave synth music co opted by the far right The Guardian Archived from the original on December 20 2016 Farrell Paul March 18 2018 Fashwave 5 Fast Facts You Need to Know Heavy com Archived from the original on May 23 2020 Retrieved March 5 2020 Perry Barbara Hate Crimes Greenwood Publishing Group 2009 ISBN 0 275 99569 0 ISBN 978 0 275 99569 0 pp 51 2 Racist Music Publication Merchandising and Recruitment Cyber racism Race Discrimination Unit HREOC October 2002 Rooney Anne Race Hate Evans Brothers 2006 ISBN 0 237 52717 0 ISBN 978 0 237 52717 4 p 29 Eatwell Roger and Cas Mudde Western democracies and the new extreme right challenge Psychology Press 2004 ISBN 0 415 36971 1 ISBN 978 0 415 36971 8 pp 54 5 Malone 2000a 2002b a b Tucker 1985 Malone 2002a p 317 a b Herman 2006 a b c d e f g h i j k Pittman Nick Johnny Rebel Speaks The true to life story of how a South Louisiana man with a guitar and a belief became a forefather of white power music in Times of Acadiana Lafayette Louisiana ca 2000 a b Broven John South to Louisiana The Music of the Cajun Bayous Gretna Louisiana Pelican 1983 p 252 ISBN 0 88289 608 3 Malone 2002b and Pittman 2003 Bernard Shane K The Cajuns Americanization of a People Jackson Miss University Press of Mississippi 2003 p 63 Pittman 2003 Johnny Rebel Klassic Klan Kompositions Condran Ed July 31 1998 Stern Producer Flourishes By The Skin Of His Teeth The Morning Call James Renee A October 1 2006 Hmmm Stern s critics are plugged into regular radio The Morning Call Sullivan James December 14 2005 Love him or hate him Stern is a true pioneer Today com Wade Michael October 2007 Johnny Rebel and the Cajun Roots of Right Wing Rock Popular Music and Society 30 4 493 512 doi 10 1080 03007760701546364 S2CID 144219004 a b Reynolds Simon 2006 Rip It Up and Start Again Postpunk 1978 1984 Penguin p 65 ISBN 978 0 14 303672 2 Sabin Roger 1999 Punk Rock So What The Cultural Legacy of Punk Routledge pp 207 208 ISBN 978 0 203 75664 5 Andersen Mark Dance of Days Two Decades of Punk in the Nation s Capital Akashic Books 2003 p 159 Flynn Michael Globalizing the Streets Columbia University Press 2008 p 191 Skrewdriver A Fan s View Punk77 co uk Retrieved 31 August 2010 Skrewdriver Press Cuttings Punk77 co uk Retrieved 31 August 2010 Diamond in the Dust The Ian Stuart Biography Archived 2009 04 27 at the Wayback Machine a b Mattias Gardell Gods of the Blood 2003 p 307 Rechtes Neuheiden Festival mit Nazi Runen im SO 36 Unheilige Allianzen page 290Bibliography EditApel W 1969 Harvard Dictionary of Music Cambridge MA Harvard University Press Brake M 1980 The Sociology of Youth Culture and Youth Subcultures Sex and Drugs and Rock n Roll London Routledge amp Kegan Paul Fox Kathryn Joan October 1987 Real Punks and Pretenders The Social Organization of a Counterculture Journal of Contemporary Ethnography 16 3 344 370 doi 10 1177 0891241687163006 S2CID 145309467 ProQuest 1292921337 Fryer Paul January 1986 Punk and the new wave of British rock Working class heroes and art school attitudes Popular Music and Society 10 4 1 15 doi 10 1080 03007768608591255 Grout D J 1960 A History of Western Music New York W W Norton amp Co Hebdige Dick 1979 Subculture The Meaning of Style London Methuen Fletcher amp Son ltd 1979 Johnny Rebel Klassic Klan Kompositions 2003 Retrieved February 1 2006 Joseph Branden W 2002 My Mind Split Open Andy Warhol s Exploding Plastic Inevitable Grey Room 8 8 81 107 doi 10 1162 15263810260201616 JSTOR 1262609 S2CID 57560227 Lawler J 1996 Songs of life The meaning of country music Nashville TN Pogo Press Leroy Happy Fats LaBlanc no date Cajun French Music Association Retrieved June 17 2006 Mackay J 1993 Populist ideology and country music In G H Lewis Ed All that Glitters Country Music in America pp 285 304 Bowling Green OH Bowling Green State University Popular Press Malone B C 2002a Country Music U S A 2 nd ed Austin TX University of Texas Press Malone B C 2002b Don t Get Above Your Raisin Country Music and the Southern Working Class Chicago IL University of Illinois Press Messner Beth A Jipson Art Becker Paul J Byers Bryan October 2007 The Hardest Hate A Sociological Analysis of Country Hate Music Popular Music and Society 30 4 513 531 doi 10 1080 03007760701546380 S2CID 143477219 ProQuest 208063554 Pittman N 2003 Johnny Rebel Speaks Retrieved February 1 2006 from Present at the Creation 2001 Fall Southern Poverty Law Center Intelligence Report Accessed November 1 2006 Sample T 1996 White soul Country music the church and working Americans Nashville TN Abingdon Press Tucker Stephen R Louisiana Folk And Regional Popular Music Traditions On Records And The Radio An Historical Overview With Suggestions For Future Research Louisiana Folklife Program Further reading EditShekhovtsov Anton and Jackson Paul eds 2012 White Power Music Scenes of Extreme Right Cultural Resistance Ilford Searchlight and RNM Publications Farmelo Allen March 2001 Another history of bluegrass The segregation of popular music in the United States 1820 1900 Popular Music and Society 25 1 2 179 203 doi 10 1080 03007760108591792 S2CID 190723735 Hill Jane H 2008 The Everyday Language of White Racism Malden MA Wiley Blackwell Musial Jennifer 2019 We re Country Britney Spears Southern White Femininity and the American Dream Feminist Formations 31 3 72 94 doi 10 1353 ff 2019 0031 S2CID 213339976 Project MUSE 748842 ProQuest 2368696622 Retrieved from https en wikipedia org w index php title White power music amp oldid 1142079904, wikipedia, wiki, book, books, library,

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