White power music

There have spawned several subgenres, including country music — also referred to as segregationist music — which came about 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 endemic in the American South.[1] There were also changes in the music recording industry in the 1940s and 1950s 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"".[13] Lyrics warned of white violence on African Americans if they insisted on being treated as equals.[14] 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.[14] 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 way our land.
We've still got lots of hope.[1]

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 non-whites, 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.[25] 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.[26][27] The Nazi punk subculture appeared in the United States by the early 1980s during the rise of the hardcore punk scene.[28][29]

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.[30] 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.[31] 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.[32] 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.[33] Mattias Gardell, however, sees NSBM artists as a minority within black metal.[31] The Metal Archives lists only around 200 active NSBM bands[34] out of around 20,000 active black metal bands.[35]

• Coon song
• "Das Judenthum in der Musik" ("Jewishness in Music") – essay by composer Richard Wagner
• List of neo-Nazi bands
• List of organizations designated by the Southern Poverty Law Center as hate groups
• Louis and the Nazis - 2003 documentary about American neo-Nazis
• Resistance Records
• Westboro Baptist Church music parodies - homophobic (and occasionally antisemitic and anti-Catholic) songs by the Westboro Baptist Church that is also hate music.

• 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, K.J. (1987). "Real Punks and Pretenders: The Social Organization of a Counterculture.", Journal of Contemporary Ethnography, 16, 344–370.
• Fryer, P. (1986). "Punk and The New Wave of British Rock: Working Class Heroes and Art School Attitudes", Popular Music and Society, 10(4), 1-15.
• 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..
• Herman, M. (2006), J.D. Miller. Retrieved August 29, 2006.
• Johnny Rebel – Klassic Klan Kompositions. (2003). Retrieved February 1, 2006.
• Joseph, B.W. (2002). "'My Mind Split Open': Andy Warhol' Exploding Plastic Inevitability", Grey Room, 8 (Summer), 80-107.
• 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, B. A., Becker, P. J., Jipson, A., & Byers, B. (in press). The hardest hate: A sociological analysis of country hate music. Popular Music and Society.
• 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, S. R. (1985). Louisiana folk and regional popular music traditions on records and the radio: An historical overview with suggestions for future research. Louisiana Folklife: A Guide to the State. 222–240.

• Shekhovtsov, Anton, and Jackson, Paul (eds) (2012), White Power Music: Scenes of Extreme-Right Cultural Resistance. Ilford: Searchlight and RNM Publications.
• Farmelo, Allen. "Another History of Bluegrass: The Segregation of American Popular Music, 1820-1900." Popular Music and Society, 25.1-2 (2001): 179–204.
• Hill, Jane H. (2008). The Everyday Language of White Racism. Malden, MA: Wiley-Blackwell.