Showing posts with label download/info. Show all posts
Showing posts with label download/info. Show all posts

Black Bear Cancels Oi!Fest Amid Antifascist Protest, Nazis Move to Santos Party House

 

Feeling the force of antifascist pressure from NYC Antifa and others, the Black Bear Bar in Brooklyn finally decided to cancel the Oi!Fest 2016 skinhead concert they were hosting.  The bar had provided cover to the neo-Nazis organizing the concert, just as they did previously by supporting the neofolk Operation Equinox tour, using the few multi-racial members of the skinhead bands as a cover.  As people have noticed, this group of nationalist skinheads have reached out to nationalists of color to create a more “multi-racial” fascist subculture, and one that often confuses those looking for traditional racial separatism.

  It was this multiracial character that Black Bear used to defend themselves as antifascists descended on their social media.  On Facebook, they spent all evening defending themselves against allegations of aiding Nazi gangs.  People from around the country, but especially New York, posted on there, sharing stories of Black Bear regularly supporting “Rock Against Communism” shows and using traditional Nazi insignia in the bar.  The bar repeatedly tried to point to Asian and Latin American members of some of the bands as proof that this was a non-racist skinhead show, yet members of the community immediately posted information about neo-Nazism in Latin and Asian communities that they were attempting to create alliances with.

In a recent article, the Southern Poverty Law Center took a special look at the inclusion of people of color in this otherwise racialist scene .  They pointed out that many of these street fascist movements, which this brand of skinheads inhabit in the United States, have had several attempts to “rebrand” themselves using a tenuous multi-racial alliance.

    From the 1980s to the mid-2000s, the dominant brand within the far-right sector of skinhead subculture was neo-nazism, and such interracial co-mingling would have been unthinkable. In truth, there have always been skinheads of varying degrees of “whiteness” across the world who have sought to uphold strains of far-right politics.

    A prime example of how race is falling away as the dominant organizer within the extremist skinhead music scene occurred in 2013.

    Bound For Glory, one the first neo-nazi skinhead bands to emerge here, toured Japan with Aggro Knuckle, one of that country’s oldest skinhead bands. The two also released a split-record together. In that way, NYC Oi! Fest is an important microcosm of the landscape of “hate music” worldwide. Last year’s installment brought bands to New York City from as far away as Finland and Mexico.

    “Oi,” after all, encapsulates a broad range of skinhead-oriented punk and rock ‘n’ roll. Most Oi! fests and concerts book bands who offer little-to-no political overtones or messages. Their songs and the shows themselves often revolve around drinking and other subcultural markers, like banal expressions of patriotism. By inserting “Oi!” into its title, the fest’s promotors –– Dennis Davila of United Riot Records chief among them –– are putting forth their version of what skinhead identity and music should exist as, while directing hostility towards outsider and those they “other.”



    There is, of course, historical precedent for this. Efforts to reframe skinhead identity and music were first undertaken by the neo-Nazi political party National Front in England in the early 1980s. The efforts of those organizing NYC Oi! Fest –– a long-standing crew calling itself the 211 Bootboys, of which Davilia is a member –– aren’t wholly dissimilar from the National Front’s attempts to attract skinheads to their worldview.

 They go on to outline the violent homophobic and nationalist lyrics of bands in the Oi!Fest line-up, including Brassic.  They have allowed Nazi skinhead crews to make Oi!Fest an annual meet-up point, and bands like Brassic have had explicit Nazis set up their shows around Europe.

Anti-fascist writer Spencer Sunshine outlines the complicated nature of these seeming “multi-racial” alliances that we are seeing in this skinhead event, as well as in circles like National Anarchism and radical traditionalist circles.

    Today, neo-Nazis and the Ku Klux Klan are no longer the only groups that endorse White separatism. This is partly due to the secessionist fever that has spread across the U.S. Right, uniting Right Libertarians, conspiracy theorists, Christian theocrats, Sovereign Citizens, neo-Confederates, and traditional White separatists. New groups advocate “pan-secessionist” ideology, and seek to unite the right-wing secessionists with those traditionally closer to the Left, like (bio)regional separatism in Vermont and Cascadia, former Leftist Kirkpatrick Sale’s decentralist Middlebury Institute, and nationalist organizing by those who, in the old anti-imperialist terminology, are “oppressed nations” (Native Americans, African-Americans, Latinos, and other people of color).

    However, the most contentious question today is the direct participation of people of color in groups that espouse White separatism as part of their ideology. Loosely organized groups like National-Anarchists, Attack the System, and New Resistance, which actively embrace White separatism as part of their decentralized schema, should be excluded from progressive circles—including people of color who are members of these groups.  This also includes members of groups that are multi-racial, but which promote this political view.

    In addition to these groups, some people of color are involved in openly fascist circles. Neo-Nazi groups are active in countries such as Brazil, Chile, Mexico, Colombia, Mongolia, and Malaysia; and members of these movements reportedly have ties in the United States.

    In the past, Leftists excluded White people affiliated with groups that espoused White separatism, such as White Aryan Resistance (WAR) and Aryan Nations. But this new secessionism is more complicated; for example, it has led to the spectacle of people of color advocating for the legitimacy of White separatism—by claiming either that all separatism is good separatism, or that a program of complete reciprocal racial separatism requires that all groups have their own geographical enclave.

    Cooperation between racial separatists of differing backgrounds is a long-standing tradition. In the 1930s, when Mississippi’s arch-racist Senator Theodore Bilbo publicly called for the expulsion of African-Americans to Africa, members of Marcus Garvey’s movement (themselves proponents of African-American emigration to Africa) approached Bilbo as a potential collaborator. The Nation of Islam (NOI) also has a history of associating with White nationalists, including the Ku Klux Klan and the American Nazi Party; Malcolm X cited these associations as one of the reasons he became disgruntled with NOI. WAR’s Tom Metzger has supported and donated money to NOI and has addressed the New Black Panther Party (NBPP). In Florida, one Black separatist organization even held joint demonstrations with a local Klan group.

    However, calling for the exclusion of all supporters of White separatism should not be mistaken for a call for progressives to exclude activists who endorse nationalist forms of separatism for people of color, including Black, Native American, or Latino nationalists. It is only the advocacy of White racial separatism that is at issue. While the acceptance of what is called the “right to national self-determination” of racial and ethnic minorities as congruent with larger left-wing goals is not without its critics (including myself), it has a long-established history on the U.S. Left, and its advocates have included the Black Panther Party, the American Indian Movement, and the Young Lords. However, irrespective of the debates around it, national self-determination by an oppressed group of people is completely different from the “right” of White separatism. White separatism has never had a place in the Left, and its structural function is to reinforce—and not attempt to escape (regardless of whether this would work in practice or not)—existing social hierarchies. In the United States, White people as a group are firmly in control of the majority of economic resources and social power. White separatism is comparable to espousing gated communities for the rich: its purpose is to physically express existing hierarchical social and economic structures.

This type of alliance is something that white nationalists in all circles are going to continue to try and pull from in an attempt to show that “fascism is for everyone.”  Even the most recent American Renaissance conference had a Mexican speaker discussing racial nationalism, and they occasionally post that they have Latino participants in their crowd who are there advocating for their own racial separatism.  Japanese nationalism, often tied to romantic notions about Imperial Japan and national Shinto, is a special favorite for this crowd, and often is used by white nationalists as proof that they have a coherent ideology that is not just a vessel for angry bigotry.  There are very few people of color associating with these white nationalists, but it is a rhetorical strategy that has helped to neutralize opposition who are not aware of these strategic developments on the far-right.

 Black Bear eventually went to Twitter to announce that the show for Sunday, May 29th had been canceled.

The show is actually being moved to the Santos Party House, having just been announced at 3:30pm EST.   That venue is co-owned by rocker Andrew W. K, who very well may not know what is going on. Fascists are hoping that the antifascist opposition will miss this news, but with a growing contingent in New York City looking to shut it down it will be hard for them to hide.  NYC Antifa will be calling for a boycott of Santos Party House if the show is successfully held there.

Contact them and let them know what you think!
 
SANTOS STAFF:
Chip Su: 212-584-5492, booking@santospartyhouse.com
Bryan: bryan@santospartyhouse.com.
Jackalyn Tipchaieuh: live@santospartyhouse.com (out of the office but send her an email anyway!)
also: info@santospartyhouse.com
FACEBOOK: www.facebook.com/santospartyhouse
INSTAGRAM: www.instagram.com/santospartyhaus
Also let Andrew W.K. know what is going on!
ANDREW WK on Twitter:
https://twitter.com/AndrewWK




 Big thanks to NYC Antifa for all of their research and work!

Nazi Skinhead (Bonehead) Concert To Be Held at Black Bear Bar in Brooklyn


A crowd of skinheads and Nazi punks are feeling so emboldened in Brooklyn that they are having another party in Williamsburg tonight. Today is Oi!Fest, a Rock Against Communism show that neo-Nazi skinheads attempt to have annually.

RAC is the alternative to the more left-leaning working class street punks and Oi! Scene, where RAC is an explicitly “white power” contingent that birthed the “white noise” movement. While the Nazi skinhead culture has waxed and waned, white noise music has been one of the best recruitment tools for the most extreme edge of the violent white nationalist movement.

OiFest! 2016 had been organized in relative secret as most of the skinheads at its reigns know it would be shut down if their venue is revealed too soon. Yesterday they had a large pre-party that brought out their crews and supporters at the Red Star bar in Greenpoint, a well known sports-bar in the area.

Tonight they are going to be having the first of two shows for Oi!Fest 2016 at Black Bear on North 6th avenue in Williamsburg. Black Bear has already caused controversy by hosting the Project Equinox tour from Heathen Harvest, with a line-up of well-known Neofolk bands with nationalist leanings.




It is unsure whether or not Black Bear is the venue for tomorrow’s show as well. The bands for Oi!Fest include well-known skinhead fare like OxBlood, Close Shave, Offensive Weapon, and Battle Zone.

Below we are listing all of the information for Black Bear, their social media, yelp, and contact information. Call in and let them known what you think about their choice to host a violent neo-Nazi show.  This is an organizing tool that has real consequences and these events have a track record of being center points for violent racist attacks.

Blackbearbk.com
Phone: 917.538.8399
Address:
70 N 6th St
BrooklynNY
source

Muhammad Ali changed my life: Will Smith


London: Hollywood star Will Smith has credited Muhammad Ali changing his life after portraying the boxing champion in the 2001 biopic Ali.

Ali died on June 3 at the age of 74, following a 32-year battle with Parkinson's disease. His passing emerged days after he was admitted to a medical center in Phoenix, Arizona, for respiratory complications.

Smith, who earned his first ever Oscar nomination for his role as the outspoken sports star in Ali, took to Facebook to honour the man he had come to call a friend.

"You shook up the World! My Mentor & My Friend. You changed my Life. Rest in Peace," the 47-year-old actor wrote.

Smith also shared two photos of himself with the late legend, including one behind-the-scenes shot from the making of Ali.

Smith said channeling the heavyweight champion was "the greatest of all times. The champ looked at me and gave me the nod that I did a good job. I worked as hard as I could possibly have worked."

Last year, Smith presented the Muhammad Ali Legacy Award to Jack Nicklaus at Sports Illustrated magazine's annual Sportsperson of the Year dinner where he praised The Champ. 


"But when we think about the legacy of Muhammad Ali, what he did in the ring is not what we think about," said Smith. "For nearly two years, I worked to transform myself into the man who changed his name from Cassius Clay to Muhammad Ali and shook up the world. 

That's really what makes my job so beautiful as an actor," Smith continued. "For four or five months at a time, I get to wear people's lives, so I got to wear Muhammad Ali's greatness. 

I got to study and feel and embody the soul of the man. From the foundations of Islam and the strength of his Muslim faith and his life to the beautiful wake that he always leaves in his magnificent path."

source

AN INTERVIEW WITH THE PUNK WHOSE BULLET BELT GOT HIM ARRESTED BY THE POLICE


Things have been tense in Boston lately. Back in June, the subject of a “terror investigation” was shot and killed by police after he was said to have waved a knife at officers who confronted him. A couple weeks later, another man, with another knife, was also shot and killed by police. And earlier this month, the son of a Boston Police captain was arrested after his father tipped off the FBI that he’d been threatening to join ISIS. All of which, of course, comes in the continued psychological aftermath of the Tsarnaev trial, in which the Boston Marathon bomber was sentenced to death, and the larger national conversation about the horrific shootings in South Carolina. So, perhaps, you might possibly forgive riders on the city’s buses for being a little on edge, like they were last weekend, when a man wearing what appeared to be an arsenal of ammunition walked onto the bus. On the other hand, you might call them a pack of simpering, terror-addled babies who called the police over a guy in a punk rock costume.

That’s what happened to Kevin Young, a 26 year old resident of nearby Watertown on Friday, July 10 when he was trying to take the bus from Harvard Square to Allston—a bus route, as anyone who’s taken it before can tell you, that regularly ferries its fair share of punks, metalheads, and assorted members of the general Boston hipster diaspora. 
Around 4:20 (nice) on Friday, according to the police report, officers responded to a call for a “person with a gun” at the intersection of Cambridge and Harvard Streets. 
The bus driver, the report goes on, had “pulled the bus over and stopped due to the suspect [Young] who was inside of the bus walking towards the front of the bus wearing a gun tactical belt on his waist with what appeared to be military grade ammunition rounds wrapped around his waist area and ankles.” The driver informed officers that he had “caused a panic” in the bus, and immediately called 911. 
Young, having sensed something was amiss, got off the bus stop, like so many punks before him have at this particular location just outside the rock club O’Briens and Stingray Tattoo, at which point a search for the potential shooter ensued. 
Witnesses informed police that in addition to the ammunition, the suspect “was wearing all black clothing, black boots, black spiked fighter gloves, and black spiked bracelets,” which sounds like a shitty Rancid cover. 
Once apprehended, although the police admittedly determined that the bullets were, in fact, replicas, and not dangerous, they arrested him anyway. The charges included “unlawful possession of ammunition,” “carrying a dangerous weapon unlawfully (spiked/studded gloves and arm bands),” and, for good measure, “disorderly conduct.” 
At arraignment, Jake Wark, the Suffolk County District Attorney’s Office spokesmen told me “prosecutors moved to dismiss the charges primarily on the grounds that the ammunition could not be fired and wasn’t intended to be fired.”
Under Ch. 140, Sect. 121, of the Massachusetts General Laws, he clarified, “a person may be prosecuted for possessing ‘cartridges or cartridge cases… designed for use in any firearm, rifle, or shotgun,’ but we determined that our resources were best directed elsewhere.” 
I tracked down Young, who was in the midst of completing 20 hours of community service that he agreed to on the conditions of the charges being dropped, to ask him what happened. Young, an engineer who works in computer networks, is a Boston native, who runs the punk record label Serfs Up, and plays in a couple of bands, including the act Hexxus. The label is getting set to release a compilation cassette of punk acts from around the world to benefit the Baltimore Uprising.

NEW YORK PREMIERE OF LOS PUNKS: WE ARE ALL WE HAVE AT HOUSE OF VANS BROOKLYN


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Joined by New York punk band The Casualties and Los Angeles backyard favorites Age of Fear and South Central Riot Squad, for the ultimate celebration of punk Angela Boatwright introduces her film, Los Punks: We Are All We Have. House of Vans will host DIY workshops where guests can stud, patch, bleach and dye just about everything under the sun. Each screening will also offer a Q&A with the attending musicians and directors so guests can interact with the creatives behind the film. 

Angela Boatwright’s profound 2016 Slamdance feature Los Punks: We Are All We Have tells the story of the backyard punk community in South Central and East Los Angeles. Punk rock is thriving in these communities, and the film documents a group of predominantly Latino teens and young adults who cobble together a tight-knit family interwoven into a subculture of thrash, noise and pits. "I lived in New York City for half of my life and after four years in Los Angeles it’s an honor for me to present Los Punks to all of my East Coast friends,” expressed Boatwright. “Juxtapoz Magazine called Los Punks my “love letter to So-Cal punk” and it’s absolutely true. I can’t wait for New York to find out what’s happening here in L.A.!"








The Casualties - We Are All We Have-Official Video 작성자 punkonlinedotnet

French Blood (2015) + English & Indonesian Subtitles.

French Blood (original title: Un Français)

A new French movie is causing ructions over claims that it is too incendiary for general release. The film is about a violent skinhead and the origins of France's far-right political movement.

 Marco is a skinhead, a real one. With his friends, Braguette, Grand-Guy, Marvin, he hits the Arabs and glue the posters of the far right. Until he feels that, despite himself, his hatred is abandoning him. But how to get rid of violence, anger, stupidity that has in oneself? This is the journey of a bastard who will try to become a good person.
French Blood (original title: Un Français)

    ↓↓↓         ↓↓↓       ↓↓↓
 Watch here → French Blood (2015) + English/ Indonesian Subtitles.

HATEBREED - The Concrete Confessional Album

HATEBREED - The Concrete Confessional


Connecticut-based hardcore/metal masters HATEBREED will release their new album, "The Concrete Confessional", in the spring via Nuclear Blast. The CD is being recorded with longtime producer Chris "Zeuss" Harris (ROB ZOMBIE, SUICIDE SILENCE, WHITECHAPEL) and will be mixed by Josh Wilbur, who has previously wirked with LAMB OF GOD and MEGADETH, among others.

In support of "The Concrete Confessional", HATEBREED will embark on a North American headlining tour. Joining them on the trek are modern metal stalwarts DEVILDRIVER, Nuclear Blast labelmates DEVIL YOU KNOW and Metal Blade recording artists ACT OF DEFIANCE (featuring former MEGADETH members Chris Broderick and Shawn Drover).

Comments HATEBREED vocalist Jamey Jasta: "New album and tour in 2016?! Let's do this!
"Our return to the states has been a long time coming and we could not be more excited!
"Fans have been asking for us to tour with DEVILDRIVER and DEVIL YOU KNOW for a long time, and we're pumped to have ACT OF DEFIANCE on some shows as well.
"Get your tickets and we'll see you in the pit!"

The Specials' Drummer John Bradbury Dies at 62


John "Brad" Bradbury, drummer with The Specials, has died at the age of 62.
The ska group tweeted the news: "It is with deep regret that we say goodbye to our great friend, the world's greatest drummer, our beloved Brad. RIP."

Bradbury joined The Specials in 1979, and continued with the reversioned band The Special AKA, who had a top 10 hit with Free Nelson Mandela.
Bradbury took part in The Specials reunion tour in 2009. He also headed up a band called JB Allstars.
The band's representatives said the drummer died in England but no cause of death was given.
In a statement, his family said: "It is with deepest regret that we have to announce the very sad news that our much loved husband and father John 'Brad' Bradbury passed away on Monday the 28 of December.
 
'Ground-breaking'

"Brad's drumming was the powerhouse behind The Specials and it was seen as a key part to the Two Tone sound. He was much respected in the world of drumming and his style of reggae and ska was seen as genuinely ground-breaking when The Specials first hit the charts in 1979.


"He was an integral part of The Specials reforming in 2008 and toured with them extensively up to the present day. His contribution to the world of music can not be understated and he will much missed by family, friends and fans alike.
"It is the family's sincerest wish that they are allowed the time to remember him privately."
The news comes three months after the band's trombonist, Rico Rodriguez, died.
 
The band, famed for their 1960s mod-style outfits, had seven UK top 10 singles including Too Much Too Young and Ghost Town.
Founder and songwriter Jerry Dammers dissolved the band in 1981 but they re-grouped and continue to perform and record without their former leading man.

Billy Bragg was one of the first musicans to pay tribute to Bradbury.: "A bad day for good music. First we lose Lemmy, now news that Brad from the Specials has passed away. RIP."

Bradbury was born and brought up in Coventry where the band was formed in 1977.
Music producer Pete Waterman, also from Coventry, expressed his shock at the news of the Bradbury's death.

Waterman said: "I always had a good laugh with Brad. He was always proud of being in the band and what we'd and he'd achieved.
"He never left Coventry because he always wanted to be part of the scene... he was tremendous."

source 

Lemmy, Motörhead frontman, dies at 70


Ian “Lemmy” Kilmister, founding member and singer in the British heavy metal band Motörhead, has died at the age of 70 shortly after learning he had been diagnosed with cancer.


The band announced on their Facebook page that Lemmy learned of the disease on 26 December, and was at home when he died.
Lemmy, born Ian Fraser Kilmister, formed Motörhead in 1975 and was its only constant member, as singer and bassist. The band released 23 studio albums and are best known for their 1980 single Ace of Spades.
The band requested fans “play Lemmy’s music LOUD. Have a drink or few. Share stories. Celebrate the LIFE this lovely, wonderful man celebrated so vibrantly himself.

“There is no easy way to say this … our mighty, noble friend Lemmy passed away today after a short battle with an extremely aggressive cancer. He had learned of the disease on 26 December, and was at home, sitting in front of his favourite video game from The Rainbow which had recently made it’s way down the street, with his family.


“We cannot begin to express our shock and sadness; there aren’t words.
“We will say more in the coming days, but for now, please … play Motörhead loud, play Hawkwind loud, play Lemmy’s music LOUD. Have a drink or few.
“Share stories.
“Celebrate the LIFE this lovely, wonderful man celebrated so vibrantly himself.
“HE WOULD WANT EXACTLY THAT.”
The band signed off: “Ian ‘Lemmy’ Kilmister
“1945 -2015
“Born to lose, lived to win.”

 Tributes poured in for the heavy metal giant, with Ozzy Osbourne tweeting: “Lost one of my best friends, Lemmy, today. He will be sadly missed. He was a warrior and a legend. I will see you on the other side.”

Former Motörhead drummer Phil “Philthy Animal” Taylor died aged 61 in November. “Fast” Eddie Clarke, who becomes the last surviving member of the band’s most famous lineup, wrote on Facebook: “I have just been told that Lemmy has passed away in LA. Like Phil, he was like a brother to me. I am devastated. We did so much together, the three of us.
“The world seems a really empty place right now. I am having trouble finding the words … He will live on in our hearts. RIP Lemmy!”

Lemmy’s public struggles with illness intensified in recent years. The singer underwent surgery to have an implantable defibrillator placed in his chest in 2013, and has cancelled shows in recent years due to exhaustion and a haematoma.
The band had been scheduled to tour the UK and France in early 2016.

 Lemmy was born in Burslem, Staffordshire, on Christmas Eve in 1945. His musical career began in the early 1960s and he was, for a time, a roadie for Jimi Hendrix. He played in several rock bands, including the Rockin’ Vickers, Sam Gopal and Hawkwind, before founding Motörhead (originally named Bastard).

He wrote in his autobiography, White Line Fever, that he had been fired from Hawkwind for “doing the wrong drugs”.
Motörhead’s loud, fast style was a pioneering force in heavy metal. Lemmy’s vocal growl and aggressive bass playing has been emulated by countless other bands, but the singer joked that he largely learned on the job, telling Spin in 2012 that “the volume’s loud so nobody really notices that much”.

The band’s highest-rating record was the live album No Sleep ’Til Hammersmith, which peaked at number one on the UK album charts – a testament to the band’s crushing onstage performances.
Other highlights from Motörhead’s extensive discography include their second and third albums, Overkill and Bomber, both recorded in 1979, and several high-rating singles in the early 1980s. The Ace of Spades album reached number four in the UK charts, and the single number 15.


The band’s early years are credited with laying the ground for thrash and speed metal, but Lemmy consistently refused to categorise their music as either punk or metal, often playing to audiences of both genres.
Despite the band’s success, Lemmy said in interviews over the years that he had made more money from writing Osbourne’s 1991 hit Mama I’m Coming Home than from the entire Motörhead catalogue.

He told the Guardian earlier this year: “I didn’t really want to be in the lifestyle without the music. And I didn’t want to be in the music without the lifestyle.”
Among those to pay tribute to Lemmy after his death was announced were Megadeth founder Dave Mustaine, Gene Simmons, the Kiss frontman, and Motley Crue’s Vince Neil and Nikki Sixx, and rapper Ice T.

source

Rancid 20th anniversary And Out Come the Wolves

RANCID


Rancid are one of the all-time great punk bands. Album after album, they've delivered tight songs with caustic melodies that you can't stop playing over and over. And of all those albums, guess which one is the best? ...and out come the wolves! I'm not the only one here who says so - just look at some of the other reviews. Try not to enjoy "Roots Radicals", "Olympia", or "Journey to the End of the East Bay". How about "She's Automatic"? The songs are infectious, the lyrics insightful and conjuring up vivid images in your mind during almost every song - can't you just see the guys on that city bus during "Roots Radicals"? Listen to "The War's End" and "You Don't Care Nothin'", and then try to tell me you don't want this album? If you already have it, I'm sure your sentiments are pretty much the same as mine. One of my all-time favorite albums.

Skinhead Culture is Alive and Well On The West Coast


Suburban Rebels zine pulls together the best of the hardcore, punk and Oi! scenes from the Bay Area and beyond.

Pete Markowicz aka Big Skinhead Pete raised hell with his crew of fellow skinheads growing up in Bergen County, New Jersey. They drank, caused trouble and got mean in the mosh pit at hardcore and Oi! shows. Writing about bands nobody else cared about was the only thing that finally got him through high school – after six years of trying and one expulsion. Almost two decades later, and from the other side of the continent, Pete’s giving back to the culture he credits with saving his life. His zine Suburban Rebels pulls together the best of skinhead culture from the Bay Area and beyond, and brings the best punk, hardcore and Oi! bands to the masses in black and white photocopied form.  

When and why did you start making zines?
I wrote for the music sections of both college papers at the schools I attended in New Jersey. It took me six years to graduate, haha. I even got kicked out but somehow talked my way back in and graduated. I failed all my classes but the only thing that kept me there was writing about music that no one cared about and having it printed. I interviewed an Oi! band called Criminal Intent (bizarre to think about an Oi! band being in a college newspaper) and reviewed records like the first Transplants album. I moved to California and started to meet people in the Oi!/street punk/hardcore scene out here and it was a bit quiet with the whole Oi! skinhead scene in the Bay Area. I’ve been going to shows since I was 13 years old. This is my life. I don’t just want to take, I wanted to give something back to the scene that saved my life. Music has gotten me through really hard times in my life and has given me a place to belong with other people who can’t relate to society and think differently. The outsiders. I was never good at playing an instrument, so I took my writing skills and creativity and started a zine. It’s my outlet for the bullshit of everyday life. I guess it’s my calling in life, I don’t know. I like having a zine and Suburban Rebels has grown over the past 5 years into something I am proud of.  

What do you like about the medium?
It’s old school. I would rather have a physical copy of a book than a PDF; a record rather than an MP3. Computers make things easier but in a way, it’s ruining that connection you have with that object you can hold in your hand. I’m taking it back to ’77!

 

What’s Suburban Rebels all about?
Music for social outcasts! It started out as just an Oi! zine but has branched out a bit. It’s still for all the skinheads out there and anyone that likes and respects the subculture.

How do you go about creating each issue and how do you choose the stories and artwork? Interviewing bands gets the ball rolling. I have interviewed (or attempted to interview) every band I love and respect. The artwork is chosen based on how I’m feeling at the time or just what flows and fits the page. I pretty much write about things I care about, I don’t care if people like it or not. I created artwork based on the Zodiac killer in San Francisco once. I used to live in the neighbourhood where he killed the cab driver. The street corner was near my apartment. It’s a very chilling and terrible thing. Some people might be offended by that. Things like that influence my work but it’s mostly skinheads and things I relate to.  

What do you do for a living and how does zinemaking fit into your life?
  I work in a boring office that deals with processing documents. Sometimes it gets interesting when a celebrity comes up but most famous people suck anyways (insert the Anti-Heros song “Fuck Hollywood”). I don’t have much time to work on the zine because of being a Dad and working a full time job. But I do sneak in working on the zine at work, just like I’m working on this interview, hahahahhahah!  

Have you swapped Suburban Rebels for any good zines?
I did once but I can’t remember the name of the zine. It had an interview with my brother Lars Frederiksen of the Old Firm Casuals in it.  

What are your favourite zines?
Quality of my Life by my long time friend, Jesse Gasface. He was maybe the first skinhead I met back in my youth and we caused trouble, drank, had a crew B.C.T. (Bergen County Thugs) in New Jersey that looked out for each other at hardcore and Oi! shows, and had a lot of fun! His zine was a big inspiration for Suburban Rebels. Watch out for Gasface in the pit, he’s a mean one! Oi!

Source 

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Download Plants VS Zombies 2 it's about time on pc

how to play plants vs zombies 2 "it's about time" on your pc 1000% work !!

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update chapter 1-5
 
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From Our Scene: Merebut Kembali Definisi Punk - Zine Palembang

 

Edisi perdana dari sebuah project temporer yang membahas isu-isu seputar komunitas hardcore/punk khususnya di kota Palembang. Content pada edisi awal ini: Suara-Suara yang Lahir Dari Jalan, Kini Zamannya Koboi Beraksi di Gigs, Zine dan Zine.

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Suedeheads - article


       #suedeheads#
 The very word Suedehead refers to the grown-out crop i.e. a Skinhead haircut. The attire and the attitude that went with it were not very different from those of his immediate predecessor however; it was rather a variation on a theme. The Suedehead of the early Seventies wasn’t so much a separate entity as a continuation of the smart Skinhead who (in many cases anyway) had always worn his hair slightly longer than the ubiquitous number one of ’69.
One has to remember when the Skinhead was yet to be christened as such; Peanuts (as they were somewhat inaptly called) still wore their hair in a college-boy style. The neatly side-parted hair re-appeared at the tail-end of the movement when what basically still were Skins had their hair in that style, or indeed a grown-out crop which resembles the “French crew” (which is like a crew cut but longer, about two inches all over) of the early Mods. So the whole style had come full circle, because Skinhead was Mod begat in the first place, so that’s where our story begins.
Although a certain ‘Spartan branch’ of Mod was spotted in the London clubs by some as early as ’65, I’d say a change started to become more or less apparent when Mod started to die down in ’66. There will always be present a certain ‘hard case’ element among young males growing up and in this case the Hard, or Gang, Mod deserves a mention. For day wear he may have opted for desert boots, Levi 501s, a Ben Sherman button-down shirt or a Fred Perry topped off by a Harrington or an MA 1 flying jacket. Gradually the Hard Mod would change into the boots-and-braces Skinhead with his mean looking number one (electric hair razors have settings known by their numbers). Sideburns were optional and remained just that all the way through. Those that were young enough adopted/adapted the new look of the kids that were too young to have been Mods in a neat working class amalgamation.
Now this is obviously where the pared down version of The Look takes shape. Boots, worn for practical reasons, jeans with precision turn-ups, shirts mostly plain or striped at this stage and thin braces worn for show. This look has its place of course when we’re talking street smart. Add to it a nice cardy or V-neck sweater and/or a nice casual jacket for instance, replace the boots with smart shoes and it will have a somewhat different effect altogether.
There is quite a bit of ambivalence surrounding the aggro side of the Skinhead and I will let that comment speak for itself. Most people will lose interest in that sort of thing soon enough (or turn pro indeed) because of relationships and other responsibilities. I do want to concentrate on the smarter end of the whole phenomenon anyway, but as far as the splintering of the original Mod movement went, the Hard Mod was definitely faction number one (sic).



Then there were those who’d gone flamboyant, student, hippy or had settled down by then (’66 that is) already, but I will further ignore all of them for obvious reasons (apart from the fact that people were expected to settle down pretty early in those days and often did so, which in itself is an important social factor as we shall see later). Finally there was the Conservative or Suit Mod type that had stayed ‘with it’; the former Mod, as it were. He’s not necessarily the most interesting sort of person, although depending on where he is coming from, he can be quite interesting. He will probably have copied his look (to an extent) from the older guys from his neighbourhood or his older brothers or cousins maybe. Now where he truly becomes interesting, in my book, is when he is subtly adding his own ideas to “The Look”. He becomes more interesting still when he is broadminded enough to pick up new ideas from the next generation. Of course in this case, the new mood suited him perfectly, seeing as he’d worn his hair short for years anyway.
This ‘new’ street smart look did appeal to him shall we assume. Suits were for evening wear only now (mind you that during the heyday of Skinhead people like him were still called ‘suits’), but during the day he could be seen sporting e.g. loafers or ‘town looking’ brogues (Royals), Levi’s Sta-Prest trousers, that were basically slacks, a pristine button-down shirt and some nice casual jacket perhaps topped off with, say, a number three.
He wouldn’t have had his hair any shorter than that because it would have made him look suspicious in the eyes of young women for one thing, not to mention his employer. He would also be too mature to want to look like the younger kids and what’s more: the smartest dressers among these may have wanted to copy his more sophisticated look and in turn impress their mates. That’s called cross-fertilization I think.
The fact that people had relatively little time to indulge in that kind of thing was, as mentioned before, an important factor in their outlook on life as such. You were supposed to marry in your early twenties, so you had to save up if you were so inclined when money was in most cases tight to begin with. People on average couldn’t spend the amounts of money on clothes we are nowadays used to. So that makes it even more admirable how they managed to look so smart.
Another ‘hair thing’ is that you would soon have grown tired of attracting attention from the old Bill (police) let alone not gaining access to nightclubs full stop. I think that one is called natural progression or common sense really.
One should furthermore be aware of the fact that smart Skins had always dressed in what became later known as a Suedehead manner. The idea was, once again, to look smart and not like a thug. Trying to look hard when you’re really not (except maybe when you’ve got the numbers) doesn’t help anybody at the end of the day. The smartest answer in both senses of the word is to dress to impress and the Suedehead most certainly did just that!

 Apart from the fact that Suedeheads resembled Mods in their overall smartness and colourful look, what should also be mentioned is that they borrowed some elements from the Rude Boy as well. Think shades, pork pie hats, cropped trousers, Crombies and the Rock-steady music. Ska/Reggae and Soul meant a lot to them (as in Deep, Black and Urban) because it set them apart from the undiscerning, or so they thought. And it was a soundtrack they could dance to obviously.
The ‘out-and-out’ Suedehead look consisted of smart shoes (mostly brogues and loafers like those made by Faith Royal), Sta-Prest trousers in all their various colours, check button-down shirts (Ben Sherman, Brutus or Jaytex were popular, a lesser known brand they wore was Arnold Palmer), plain coloured knitwear ( e.g. bright red or pastel V- necks or mustard cardigans although the latter were arguably more Skinhead), Harrington jackets and the aforementioned Crombies or a sheepskin, and then maybe that porkpie hat and ‘them’ shades.
Suits were basically three button, narrow shouldered, high buttoning with narrow lapels and waisted, worn with parallel trousers ( 20” bottoms by ’71 ). Exact styles differed a lot because of fast changing fashions at the time, but were also regional. They often came in tans and bronzes or light and petrol blues (with red linings), tonik two-tone material, Prince of Wales checks or dogtooth patterns. Ties were fairly sober and narrowish. Pocket squares were all the rage.

Girls often wore boy’s shoes, loafers mostly, crepe soled lace-ups, clumpy nurses’ style shoes with a brogue pattern or plain, and other popular high street fashions such as sling-backs both with flared heels, suede and patent-leather, buckled shoes, in bright multi-colours towards the end.
Geometric patterned, plain and side patterned tights were popular with miniskirts (again preferably mohair or failing that the cheaper Trevira, styles – plain A-line, pleated often tartan checks etc, lots of buttons). Same shirts as the boys, off-the-peg suit jackets of varying lengths, although 3/4 length just above the knee was very popular in 2-tone fabric, PoW checks, double breasted also. Crombies. Trevira two pieces and mohair, Mod-like shift dresses would be worn too, Maxi length dresses at the very end of this period, often backless halter-neck.
The hair was slightly longer than the boys’, it would be in a neat style, parted with lots of forehead, with the lengths razor cut, sometimes lacquered. Some girls would wear their hair just long as it happened, often in ponytails or off the face with an Alice-band or hair clips. Make up was eye heavy with pale lips, early-on sometimes no make-up at all; Skinny eyebrows-false eyelashes, perfume – Youth Dew, very popular.
So the foundations of this look were laid in ‘66/67. The somewhat older dressers even went back to the roots of Modernism, may it have been perhaps not consciously so. The “Ivy shop” and later “Squire” as well, catered for the former Mods that wanted to carry on looking sharp. Those two shops were totally Ivy League and both stocked beautiful knitwear, thick soled shoes (such as wingtips and plain cap brogues), button-down shirts, Harringtons, raincoats and Prince of Wales check suits to a collegiate cut.
Young men that didn’t think of themselves as Skins would be considered just that by today’s standards. Although some of them did become Suedeheads. The difference would have been unmistakable to those In The Know (ITK) but it would have been a nuance that was subtle enough for the Suedeheads themselves.
The Modernist tradition of exclusivity and secrecy (some would call it elitism) carried on at any rate and the funny thing is youths began to wear suits again during the day in the early seventies. They were very likely a bit more daring colour-wise than they as Skinheads (and please note we’re talking about the same people here, expanding The Look) would have preferred and that’s basically another Mod trait.
Just previously to Suedehead there’d been a short-lived fad to sport the city gent look (in this version : navy or black blazer, white cutaway collar shirt, striped tie, grey flannel parallels and black toe-capped Oxfords) which had also taken place in ’62 (striped, waisted suits in this case, but also with the added bowler and brollie like their Seventies counterparts). In other words: young men experimenting with traditional garments in order to create a look of their own, subverting the very thing in their playful sartorial rebellion, if you will.
    This (at the time) 17 year old Smooth from North London is wearing a made to measure Crombie and a trilby, Levi’s, a Ben Sherman shirt and Oxfords. The girl was a model and has on a petrol blue/gold Trevira suit. A lot of the gear came from High Street stores like Burton and Top Shop.


    Now let’s get back to where the Suedes were taking The Look afterwards. The hair grew longer still (short on top, down to the collar at the back and sides) and they turned into “Smoothies” come ’73 with their either very plain shoes or Norwegians (clumpy loafers with a basket-weave vamp), round collared shirts, Fair Isle yoke sweaters, tank-tops, loose cords etc. Then feather cuts, Oxford bags, Budgie gear etc or back to denim and spray painted boots for some i.e. the return of the Boot-boy…shame !
    Others went on to become early “Soul Boys” that carried on shopping at the better shops on the Kings Road, if they were from “The Smoke”, but that story is not for me to tell. More than a few of the older lads went for the ‘French Cut’ look thus going for individuality and leaving the uniform behind.
    Although some Skins had stayed true to the cause there weren’t many left by ’76. When Punk came along people became very much aware again of the sense of belonging that is a big part of any youth culture, the attraction of that ‘community feeling’ was wearing on pretty heavily during that time. Many disillusioned Punks as well as those who disliked the scruffy image looked back to the fifties and sixties for inspiration. Of course there were those who followed in the footsteps of older relatives too, because they recognized the simple beauty of a concept their elders had enthused them with.
    Among various revivalists were (again) some that wanted to be a little sharper and thought of themselves as Suedeheads. For many though, it was the idea of the sussed, “smart Skinhead” that proved appealing. The “smart Skinhead” went very much against the tide of the plastic Skins that had entered the scene and signaled a trend back to basics, and all that.


      Tom McCourt made the change from Skinhead to Suedehead early in 1978. In this photo he is wearing a silver mohair suit which was handmade, one of his original Ben Sherman shirts: a very light stripe in pale green and a very pale lemon. The overcoat a dark navy wool number, it had raglan sleeves and was from Aquascutum. The shoes were brogues. He was probably also wearing a tank top, complementing his socks colour-wise.


      Ever since the Eighties there have been purist Skins keeping the original styles alive. They won’t have to look that far really, especially these days with the www. For instance: Levi’s, Lee and Wrangler are all doing some excellent repro jeans, but also A.P.C. and Edwin are worth investigating. There are several sources imaginable as for an authentic American styled shirt as well. Sta-Prest is probably a little hard to come by, but YMC is an interesting label in that respect as well as for some other gear. A good pair of smart trousers, Crombie style coats, raincoats, sheepskins etc can be found without too much hassle in a decent men’s shop or in some of the High Street shops even (just like in the old days, if your imitation looks smart enough it’ll do the trick nicely). Footwear can be traced through the original makes or can indeed be modern and perhaps a bit sleeker, in true accordance with a Mod-like aesthetic.
      Suits can be bespoke of course, or seeing as the fashions were changing so rapidly back in the day, they could just as easily be e.g. Paul Smith or Ozwald Boateng, as in classic with a twist.
      Away from any sub-cultural meaning, as the photos will hopefully show, The Suedehead look is a look that can definitely still work when updated ever so slightly. Looking smart doesn’t mean ‘boring old man’ by any means and the haircut remains a classic.
      The women’s ‘updating’ bit requires some thinking that I will gladly leave to a female person to be honest, but that aside. I think both men and women will be able to see the subtlety of this classic, timeless look, if they really want to.
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