Ian Stuart, Ace Salesman: A Libertarian View of White Power Music

skrewdriver_2.0.jpgWhile I was driving home with a few skinheads – WOA there, buddy, before you start yelling at me, read about skinheads, the music subculture; I assure they’re the non-racist kind – from this Oi! festival – Oi! is the sub-genre of punk rock that is typically played by skinheads, has a lot of sing-along parts, deals with “working class” topics and sounds like a sea chanty set to a Ramones song – where I had to drink a lot to deal with the head drilling monotony of working class anthems, shaved heads, old time-y cabby hats, suspenders (oh, sorry, I meant “braces”), denim jackets and the three hot punk girls who would rather fuck these bald meatheads than yours truly, who isn’t deliberately bald, my friend Gabe said, “there are two kinds of skinheads; the ones that listen to Skrewdriver and the ones who lie about it.”

And I thought, “why would someone lie about listening to a band he likes?”  Well, in this particular case, for those who weren’t already aware, Skrewdriver was the most popular band in the white power music industry.  MTV and VH1 have both covered the sub-sect of the punk/metal/hardcore genres called”hate rock” in vomit inducing, after-school special like documentaries, such as this one:

But, one thing few people point out is that, regardless of where one stands on the issue of “racism”, if one is truly honest, then one really has to commend former Skrewdriver lead singer and chief provocateur Ian Stuart Donaldson for, by all accounts and purposes, launching a true “alternative” music industry.

You see, in these PC times, we LOVE to heap praise upon bands such as Black Flag, Dead Kennedys and Minor Threat for helping launch the entire world of independent music by saying “fuck you” to the major labels, investing their own capital, starting their own labels – SST, Alternative Tentacles and Dischord respectively – and building up a whole network from the ground up that was both sustainable and profitable.  They tapped into an audience, found a crowd of people willing to fork over cash for their records instead of, I dunno, Van Halen or Def Leppard and, to this very day maintain these record labels.

So, how is Ian Stuart of Skrewdriver any different?  Well, that’s simple.  He’s a Hitler supporting, neo-Nazi who joined the National Front.  A younger version of me would have balked at giving him credit for doing anything good, but, then I’d be a hypocrite since I read Lovecraft and highly respect both Thomas Edison and Henry Ford.  I don’t agree with the message, but I respect the work involved to make himself a sustainable entity.  Of course, if you talk to a bunch of Crass or Dead Kennedys fans, they’ll say, “you’re a fucking neo-Nazi, racist supporting asshole!”  But, I’m not, so who cares?  These are just records and they can’t hurt you.  In fact, Ian Stuart’s lyrics are remarkably tame in comparison with the bands that he inspired.

But, first, a brief history.  Like most punk rockers, Ian Stuart was actually a long haired kid weened on football (the British kind, dope), fighting and mainstream rock music; the Rolling Stones, the Who and Free were his faves (don’t play the irony card with me about how those are all blues based rock bands; there is SO much irony in the world, that this is a mere trifle).  In 1975, he and a few buddies formed a band called Tumbling Dice, who  played gigs in their local area of Blackpool, but, in 1976, punk rock carpet bombed mainstream rock and everything changed.

In 1976, Stuart and a couple of the other guys attended the legendary Lesser Free Trade Hall Gig in Manchester, England, where the Sex Pistols played in front of forty or so people; sadly opening act Slaughter and the Dogs is all but forgotten except for by the truly dedicated.  Now, THIS is what I find ironic.  People praise those gigs because Mark E. Smith from the Fall, Bernard Sumner, Peter Hook and Stephen Morris of Joy Division/New Order and Morissey of the Smiths were all at that show and were influenced by it to start their own bands.  Well, can you guess who ELSE was at the show?  I’ll give you a big hint.

Before 1976 was over, Tumbling Dice made themselves over as a punk band, bashed out a bunch of basic, catchy, 1-4-5 punk tunes with titles like “Antisocial”, “I Don’t Like You”, “Government Action”, “Back Street Kids”, “Jailbait”, “You’re So Dumb” and “Too Much Confusion”,  sent their tape to the dinky Chiswick label in London, went over there and were signed.  Many people don’t realize that it was actually Ted Carroll at Chiswick who named the band Skrewdriver when he gave them a list of names to choose from; somehow I couldn’t picture a white power record by a band called the Nervous Wrecks.

But they weren’t a white power band at first; they were just a standard issue, three chord punk band.  Again, since their story is filled with irony, I find it kind of funny that again it was Chiswick records who suggested that the band change their image from spiky haired punks to skinheads.  Would Skrewdriver have even become a white power band if they hadn’t become skinheads first?

Their first album All Skrewed Up is actually regarded as a classic punk album by some people’s standards.  Yeah, sure, it’s no Never Mind the Bollocks… Here’s the Sex Pistols, Young, Loud & Snotty, (I’m) Stranded, Ramones, L.A.M.F. or Damned Damned Damned, but it’s got its place.

Of course, with the National Front having recruited skinheads around 1977, all of a sudden Chiswick realized they had fucked up in promoting Skrewdriver as a skinhead band.  Oh well, too late.  Stuart and crew liked being skinheads.  Unfortunately, the bad press and violence surrounding their gigs became too much, and the group disbanded.

However, Stuart was no quitter.  First he resurrected the band in 1979 as some sort of hard rock band, who released one terrible EP titled Built Up, Knocked Down and even supported Motorhead, and then things REALLY changed.

Stuart discovered the National Front and liked their literature.  In 1980, he was a full fledged member.  People like to paint history with rosy colors and claim that every other member of the band completely disavowed Stuart like some sort of evil pariah.  That’s a blatant lie; original Skrewdriver drummer John Grinton followed Stuart’s footsteps and, for crying out loud, Ian Stuart hung out with Suggs, the singer for Madness, yes, the “Our House in the Middle of Our Street” band.  He even put him in the Madness movie, Take It or Leave It.


Don’t try to rationalize it; that is the singer from Madness hanging out with National Front skinhead Ian Stuart.  Again, none of this would matter in the greater of scheme of things if Stuart wasn’t so good at promoting himself.  By 1981, Ian Stuart wasn’t even in a band. The Oi! genre had taken off without him thanks to the promotion of Sounds journalist Garry Bushell.  The genre began generating a WHOLE heap of controversy thanks to the double punch of the release of the Oi! compilation album Strength Thru Oi! and the now legendary Southall riots, in which a skinhead gig featuring three of the most popular Oi! bands, 4Skins, Last Resort and the Business, turned into a full scale riot following an altercation between some skinhead kids and the local Pakistanis.

It also didn’t help Bushell’s case that Oi! bands weren’t all card carrying Nazis when the cover for Strength Thru Oi! supposedly accidentally featured notorious neo-Nazi Nicky Crane on the cover (Crane turned out to be a closeted homo, who disavowed his views in 1992 shortly before dying of AIDS) and the title played off the popular Nazi slogan “strength through joy.”  And this is where Ian Stuart falls into place.

Stuart was just an average Joe, workin’ at the plant, drinking at the pub and organizing National Front meetings, until someone asked him what ever happened to his band Skrewdriver.  Realizing that Skrewdriver still had fans – after all 1977 was only four years earlier – Stuart assembled a new band and relaunched Skrewdriver.

And herein lies the rub; would Skrewdriver have become the leading voice of the neo-Nazi, white power youth and helped launch a whole fringe industry if the news media hadn’t goaded him into doing it?  By 1982 Skrewdriver were performing regularly at normal punk clubs such as the 100 Club and hadn’t written a single song with a racist lyric.  Their 1982 single “Back with a Bang” certainly had a nationalist sentiment, but since when was loving your country racist? Sure, their gigs were populated by nothing but skinheads who were well aware of Ian Stuart’s National Front extracurricular activities, but who cares?  Just don’t go to them!  Really!  How hard is it not to attend a gig from a band who don’t share share your views?

I understand the concern about people’s physical safety, especially after being told of some horror stories on the Detroit underground scene when hardcore punk legends Agnostic Front (whose singer is Hispanic) and death metal legends Obituary crossed the proverbial punk/metal divide and performed together; skinheads beat up on death metal fans, but again, does that come down to race or just people with proclivities for antisocial behavior?  Best bet, stay the hell back or complain to the club for not doing a better job policing the audience.

But, I digress.  Basically by 1983, Skrewdriver and skinhead gigs in general had been blacklisted by the media and clubs; their livelihood as a working rock ‘n’ roll band was officially under attack.  So, Ian Stuart, while backed into a corner, decided his only option was the best one; simply to tell the truth about his beliefs.  In 1983, Skrewdriver released the single/EP “White Power.”

It wasn’t even the first of its kind.  A few months prior, the Ovaltinees (what the fuck kind of name is that) released “British Justice“, which has the charming lines, “It’s all right for the monkeys to riot/but there’s no fucking way that I’m keeping quiet.” Prior to that the Australian hard rock band Rose Tattoo had the song “Revenge“, a song one could read deeper meaning into lyrics about “people who have no love for the mother country” and “practice strange religions that are buried in the East.”  And even the allegedly apolitical Oi! band 4skins’ first single is the anti-immigrant themed “One Law for Them.”  It should be noted for the simple-minded folk out there that “anti-immigrant” does not have to imply “racist”, but the song still has a controversial, nationalist sentiment, that is persona non grata amongst the “egalitarian” elites.  A lot of people try to claim the song is about class, meaning one law for the rich and another for the poor.  That is a lie.  The song blatantly makes references to “riots in the ghetto” and “trickle before the flood”, a reference to conservative politician Enoch Powell’s 1968 speech about the flood of immigrants from Pakistan.  Hell, in 1975, Eric Clapton blatantly made the following speech:

Do we have any foreigners in the audience tonight? If so, please put up your hands. Wogs I mean, I’m looking at you. Where are you? I’m sorry but some fucking wog…Arab grabbed my wife’s bum, you know? Surely got to be said, yeah this is what all the fucking foreigners and wogs over here are like, just disgusting, that’s just the truth, yeah. So where are you? Well wherever you all are, I think you should all just leave. Not just leave the hall, leave our country. You fucking (indecipherable). I don’t want you here, in the room or in my country. Listen to me, man! I think we should vote for Enoch Powell. Enoch’s our man. I think Enoch’s right, I think we should send them all back. Stop Britain from becoming a black colony. Get the foreigners out. Get the wogs out. Get the coons out. Keep Britain white. I used to be into dope, now I’m into racism. It’s much heavier, man. Fucking wogs, man. Fucking Saudis taking over London. Bastard wogs. Britain is becoming overcrowded and Enoch will stop it and send them all back. The black wogs and coons and Arabs and fucking Jamaicans and fucking (indecipherable) don’t belong here, we don’t want them here. This is England, this is a white country, we don’t want any black wogs and coons living here. We need to make clear to them they are not welcome. England is for white people, man. We are a white country. I don’t want fucking wogs living next to me with their standards. This is Great Britain, a white country, what is happening to us, for fuck’s sake? We need to vote for Enoch Powell, he’s a great man, speaking truth. Vote for Enoch, he’s our man, he’s on our side, he’ll look after us. I want all of you here to vote for Enoch, support him, he’s on our side. Enoch for Prime Minister! Throw the wogs out! Keep Britain white!

But, it was Skrewdriver’s song that galvanized a movement.  Maybe it was the anthemic chorus; who knows?  The bottom line is that, after the release of that single and, subsequently their 1984 LP, Hail the New Dawn, it seemed like a whole network of white power bands simply appeared out of thin air.  Of course it wasn’t “out of thin air.”  The band Brutal Attack had been around since 1980, but they dressed like punks and hid their lyrics because they too didn’t want to prematurely kill their career; it turns out they didn’t have to.

In 1984, the German label Rock-O-Rama was more than willing to take a gamble on this new group of fringe rock bands; Skrewdriver, Brutal Attack, Public Enemy (not the rap group!), Combat 84, Skullhead and No Remorse were all signed to the label.  But Stuart didn’t rest on his laurels.  Skrewdriver became more prolific after they had professed their love of Hitler and the white race, releasing one album a year until Stuart’s death in 1993, of which some suspect foul play.  On top of that, Stuart started side projects such as, ugh, the Klansmen, who were backed by the psychobilly band Demented Are Go and even released folk albums of “patriotic ballads.”

Now, this isn’t to say that I endorse the views of these bands; I still believe you should judge a person by the content of his character, not his skin color.  That doesn’t mean I don’t believe in the law of large numbers indicating trends among certain groups or that people shouldn’t voice their true beliefs with impunity.  I believe the first true Social Justice Warriors were the SHARPs – Skinheads Against Racial Prejudice – whose motives seemed noble until they essentially began beating up ANYBODY for “transgressions” such as wearing iron cross necklaces.

Nowadays, there is a fringe industry of white power labels such as Resistance and Panzerfaust.  I fully believe that, if a record store wants to sell this music or if a bar that holds 50 to 100 people holds a white power concert, that’s their right to do so and not have it impeded with threats of violence.  If anything, one would think SHARPs and Anti-Fa people would be happy that these bands have their OWN concerts in their OWN venues, rather than having to do what they did in the 80s and 90s, which is to start trouble at gigs of bands who don’t hold their views.  But, what do I know? I’m just an obnoxious, Jewish libertarian rocker, who skated out of an Oi! concert after the 15th band who shouted, “oi, oi, oi!” and that girl with short skirt and cute ass dissed me to hang out with baldy-McBalderton, who dresses like an old man in his suspenders and high cuffed jeans.



Super Hot Anti-Feminist Launches #theTriggering


Gorgeous – and yes, it’s absolutely essential to bring attention to how a woman looks before she expresses her opinion about something – Libertarian Commentator and anti-feminist activist Lauren Southern has launched a hilarious and hilariously juvenile movement designed to attack Social Justice Warrior crybabies, who have taken an unprecedented level of control of the dialogue in this and other Western countries.  The movement, set to launch on March 9th and 10th is called #theTriggering, and the concept, from my understanding is pretty simple: to be as offensive as possible in order to drive crybaby SJW’s off the internet or just totally insane as sort of a way to tell them that it’s time for them to stop policing every word that comes out of a person’s mouth, especially if that person happens to be white, straight and male.

And the concept is as beautiful as Lauren Southern’s smile.  Not everyone feels exactly like everyone else – the fact remains kiddies that there are people who don’t like blacks, people who don’t like gays, people who feel the white race is the best race, people who don’t like Muslims and prefer they’d leave that evil death cult before becoming a U.S. citizen, people who don’t like Jews, people who want to see every illegal immigrant kicked out of the U.S., people who want to see our borders shut completely, people who feel women should be in the kitchen making sandwiches and, if we live in a truly democratic society, we acknowledge that, as unpleasant as some views may be, we can’t simply shut people up who have them.

Unfortunately, the only thing SJWs want to do is shut people up.  How DARE you not agree with every single thing they think?  Don’t you realize that blacks were slaves 150 years ago and the residue of that slavery can be felt any time a white person so much as questions the effectiveness of affirmative action?  Don’t you realize women couldn’t vote until 1920 and that, any time you question why women overwhelmingly vote for bigger government, you might as well go back in time and sabotage the suffragette movement?  Don’t you realize that, if you have a view that is not in complete concert with theirs, you’re a sexist, racist, homophobe and, now I guess Islamophobe even though Muslims are about as sexist, racist and homophobic as they get, but we give ’em the pass because… WHY?!

I’m not here to discuss Islam; I do plenty of Muslim bashing in other articles, so I’ll stick to SJWs.  If feminist harpies or BlackLivesMatter activists were just derelicts that yelled at you on the street and people just ignored them, then that would be one thing.  However that is not the case.  The fact of the matter is that these people have turned Universities into a joke; they have forced professors to resign; they think it’s acceptable to take down pictures of historical figures because those figures held beliefs that were common then, but would be considered hateful now.  And the establishment is balking!  In no other time in history would two feminist activists be invited to the U.N. to discuss how to censor any criticism of their bogus attack on the video game industry.  Yet, it happened!

But, there’s a catch to all of this.  There is no safety net or safe space for your beliefs.  In other words, when someone points out that Jews control 61% of the Hollywood studio system and try to drive a narrative, such as with what looks like the absolutely retarded (And yes, I’m judging it even though I haven’t seen it nor plan on it) new movie Race, about 1936 Olympic runner Jackie Owens as some sort of struggle on his part against the prejudice of the Nazis, you have to, at very least, not take it as a personal affront.


PC is the work of the devil… no, not the devil, because then it would make it something kinda cool… it’s actually the work of cultural Marxist engineers, who, after realizing that their Marxist, egalitarian society didn’t work in industrialized countries, where people could buy cool shit, had to invent the notion that there was an oppressor and an oppressed, while completely ignoring the history of the rest of the world.  Then, the government could come in and “equalize” everything, whether it be with affirmative action quotas or forcing the military to lower its standards to allow the weaker gender to participate, all while influencing the media to blame the shortcomings of the so called oppressed groups on straight, white men.

So, here we are in 2016 on the verge of complete social and cultural collapse.  In 1967 American Nazi Party leader George Lincoln Rockwell spoke at UCLA.  Can you fathom that happening in 2016?  To have a David Duke or Tom Metzger speak at a university?  I’m not saying these are people whose views I agree with or espouse; I’m saying, in a truly free society, you let them have a chance to voice their opinions and allow people to decide if they agree with them or not.

Some may argue that we “shitlords” are nothing but overweight, annoying losers who are home on a Friday night, chomping down Dorritoes and wouldn’t be bothering with this nonsense if we had a woman as hot as Lauren Southern to take out.  On one hand, they have a point; pissing people off is a whole heck of a lot of fun, like when I teased the fuck out of these feminists who got all angry about the band Black Pussy last May.  But, there really is a point to this.  Well, for one, I’m not overweight and two, it’s not a Friday night; it’s a Wednesday night and that Jew fag Josh hasn’t contacted me to go to the local sports bar, where we can ogle the girls that have the big booties and wear the black tights.

But, there’s an even bigger point to this: whether your economic views are right, left or center, your social views should always be towards allowing an open dialogue no matter how offensive or “triggering” that dialogue may be.  Political correctness is not just a roadblock for comedians to have fun at the expense of the less fortunate; it’s quite literally the death knell of the ability to discuss actual problems with any sense of honesty, to address the elephant in the room, to tell your fat female friend that the reason men pump and dump her is not because of the color of her hair or the way she laughs, but because she is fat.