I doubt most Kiwis would have much of an opinion on Skinhead Oi!, so I thought I'd give this a try to better initiate the unfamiliar.
Post any/all Skinhead Oi!, left, right or indifferent.
A short list of personal favorites
Angelic Upstarts
Anti-Heroes
Battle Zone
The Business
Cock Sparrer
Cockney Rejects
Combat 84
Elite Terror
New Glory
The Oppressed
Skrewdriver
Skullhead
Some non-Anglophone favorites
Arbeiterklasse
Störkraft
Bunker 84
Chauves Pourris
Evil Skins
L' Infanterie sauvage
Peggior Amico
Ultima Frontiera
Bull the Buffalos
Gruesome
Sledge Hammer (鐵槌)
Raiya (雷矢)
Post any/all Skinhead Oi!, left, right or indifferent.
A short list of personal favorites
Angelic Upstarts
Anti-Heroes
Battle Zone
The Business
Cock Sparrer
Cockney Rejects
Combat 84
Elite Terror
New Glory
The Oppressed
Skrewdriver
Skullhead
Some non-Anglophone favorites
Arbeiterklasse
Störkraft
Bunker 84
Chauves Pourris
Evil Skins
L' Infanterie sauvage
Peggior Amico
Ultima Frontiera
Bull the Buffalos
Gruesome
Sledge Hammer (鐵槌)
Raiya (雷矢)
Skinhead subculture started in Jamaica and the British West Indies with sugarcane harvesters and dock workers forming a youth movement around Reggae music originally called the Rude Boys. The music gained traction and slowly became identified with Trojan Records, a label which specialized in Skinhead Reggae (Claudette & the Corporation, Symarip, The Charmers and more). The subculture was imported with immigrants from there to the UK in the '60s, reaching a fever pitch in what many nostalgic skinheads call the Spirit of '69. The Rude Boys, combined with the emerging working class Hard Mod culture, forged the classic skinhead. Although predominantly white, the original skinheads were racially integrated with more than a fair showing of blacks in the group.
With the rising popularity of Punk Rock, skinhead subculture found a new identity as a working class group. People like Garry Bushell greatly pushed the street punk and "Oi!" image through his magazine The Sounds. In his own right, Bushell was strong an influence in marketing Punk's image as Malcolm McLaren was with the Sex Pistols. White skinheads started identifying with Punk in greater numbers, with their Ska and Reggae roots gradually being displaced. As this was happening, Pakistani immigrants started to become a much stronger presence in UK, and the skinheads, both black and white, came to deeply despise them. Despite their racial integration, casual racism was common among skinheads, even the black ones. Skinheads regularly antagonized Pakistanis in Britain (see Paki bashing), so the precedent was already set for White Nationalism to take over. Add some Punk Rock nihilism with the decimation of the working class under Neoconservatism's growing influence in two of the major Anglo powers and, presto, you've got the perfect storm
With the rising popularity of Punk Rock, skinhead subculture found a new identity as a working class group. People like Garry Bushell greatly pushed the street punk and "Oi!" image through his magazine The Sounds. In his own right, Bushell was strong an influence in marketing Punk's image as Malcolm McLaren was with the Sex Pistols. White skinheads started identifying with Punk in greater numbers, with their Ska and Reggae roots gradually being displaced. As this was happening, Pakistani immigrants started to become a much stronger presence in UK, and the skinheads, both black and white, came to deeply despise them. Despite their racial integration, casual racism was common among skinheads, even the black ones. Skinheads regularly antagonized Pakistanis in Britain (see Paki bashing), so the precedent was already set for White Nationalism to take over. Add some Punk Rock nihilism with the decimation of the working class under Neoconservatism's growing influence in two of the major Anglo powers and, presto, you've got the perfect storm
