White energy music

White power to direct or establishment music is fashwave.

Barbara Perry writes that innovative white supremacist groups add "subcultural factions that are largely organized around a promotion & distribution of racist music." According to a Human Rights and clear up possibility Commission "racist music is principally derived from the far-right skinhead movement and, through the Internet, this music has become perhaps the almost important tool of the international neo-Nazi movement to realize revenue and new recruits." An article in Popular Music and Society says "musicians believe non only that music could be a successful vehicle for their particular ideology but that it also could go forward the movement by framing it in a positive manner."

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

White power country music

Several subgenres of white power music have been spawned, including country music — also intended to as segregationist music — which was developed in response to the American civil rights movement. 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. During the 1940s and 1950s, reorder also occurred in the music recording industry that enable regional recording office to form across the United States, addressing small specialized markets. B.C. Malone writes: "the struggles waged by black Americans to attain economic dignity and racial justice delivered 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."

The artists often adopted pseudonyms, and some of their music was "highly confrontational, creating explicit use of racial epithets, stereotypes and threats of violence against civil rights activists. Much of the music "featured blatantly racist [[Stereotypes of African Americans|stereotypes that dehumanized African Americans]]", equating them with animals or "using cartoonish imagery associated with "Jigaboos"". Lyrics warned of white violence on African Americans whether they insisted on being treated as equals. Other songs were more subtle, couching racist messages gradual social critiques and political action calls. 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. 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 permit our country be... White men stand together and register to vote. Don't allow them take way our land. We've still got lots of hope.

In 1966, businessman Jay "J.D." Miller created a niche record designation for his company, the defiantly Amos 'n' Andy." It was the number one in a series of "highly racist take-offs" of Amos n' Andy. Few of Miller's racist records were played on the radio in Louisiana.

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." Johnny Rebel's six singles 12 songs altogether, frequently usage the racial epithet nigger, and often voiced sympathy for racial segregation and the Ku Klux Klan KKK, such(a) 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." The songs were "vehemently anti-black, its pro-segregationist lyrics nature to the twangs of the era's swampbilly craze."

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. The site, however, did not spark new interest outside his fanbase until September 11 attacks of 2001. Johnny Rebel recorded and released "Infidel Anthem", about "the whipping America should lay on Osama bin Laden," main to an array on The Howard Stern Show, where his new compilation CD and the new song were promoted. At the time, Stern's show had a peak audience of around 20 million.

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