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(Way more than) Everything you always wanted to know about the Nazi Skinhead music scene
08:14 am

Pop Culture
The wrong side of history


Today’s post is about the new book The White Nationalist Skinhead Movement: UK & USA, 1979 - 1993 released last month by Feral House publishing.

It should be noted that the use here of the term “Nazi Skinhead” is my own broad-brushstroke, informed by being at numerous ‘80s punk shows ruined by “White Nationalist Skinheads”—sometimes at the wrong end of a Doc Marten. This is not a term used by the authors of The White Nationalist Skinhead Movement to describe their subject.  Having just admitted my own bias on the topic of “Nazi Skinheads,” let me add that as a student of the history of youth subcultures and countercultures, I am endlessly fascinated, as a topic of study, by the Skinhead movement and its extreme right-wing offshoots.

When I first heard that Feral House was publishing the definitive guide to Nazi Skinhead history, my curiosity was piqued because I was fairly certain they would get it right. Feral House’s Lords of Chaos: The Bloody Rise of the Satanic Metal is the go-to reference on the Satanic fascist Black Metal scene and is an absolutely compelling read. I was hoping for a similarly riveting examination of the White Power Skinhead scene.

Before going into where the book succeeds and fails, I feel the need to point out that the title, The White Nationalist Skinhead Movement: UK & USA, 1979 - 1993, may be a bit misleading. The book is more specifically a history of the “Rock Against Communism” (or RAC) music scene than an overview of Nationalist Skinheads as a political counterculture. Indeed, the original (more appropriate) title of an earlier self-published version of the book was When the Storm Breaks: Rock Against Communism 1979-1993.

It should also be noted that the majority of the enormous 610 page book is devoted to the British RAC scene. Only about 60 pages at the end of the book discuss the American RAC bands, and seems to be an added afterthought compared to the extremely well-researched history of the UK bands such as Skrewdriver, and Brutal Attack and their ilk. Actually “well-researched” is kind of an understatement. And that leads me to the pros and cons of The White Nationalist Skinhead Movement —which are mostly one in the same.

When an author goes about compiling information for the definitive history of a subject—particularly a subject they may have an affinity for—they are forced to decide between paring that knowledge down to a narrative which would make for a fascinating read to the novice, or sharing every shred for the like-minded obsessive seeking an authoritative reference. Authors Robert Forbes & Eddie Stampton took the latter route here. The wealth of information culled from interviews and historical records (mostly fanzines, naturally), would be a boon to those already immersed in the White Power music culture—not simply your basic Nazi Skinhead, but your Nazi Skinhead music über-nerd. If you are a member of this small target-audience, then you will likely find no fault with this weighty tome. If you happen to be taking all of this in as someone with a passing interest in the history of the Oi! music scene and its racist offshoots, then you are likely to become bored with plowing through the minutae of every RAC gig and band-member change. Because it’s ALL in there. I’ll be honest, this book was a struggle for me to make it through—simply because it was just TOO MUCH. Sure, it’s fascinating to see how the popularity of a group like Skrewdriver unfolded from their beginnings as an “apolitical” punk band, through line-up changes, to finally finding a rabid audience among White Power Nationalists; but entire portions of interviews with scenesters are reprinted describing “what it was like the first time I saw Skrewdriver,” when one or two pull quotes would have sufficed. The whole premise is bogged down under the weight of trying to include EVERYTHING.

The authors seem close to their subject matter. One of them perhaps too close for comfort, if you are the sort of person who is a stickler about giving your money to those who hold opposing ideologies to your own. According to this review of When the Storm Breaks, “Eddie Stampton is involved with the Nationalist movement, Robert Forbes writes from a neutral position, intrigued by the subject but not involved in the dogma.”

The end of the book contains the following disclaimer:

The political views expressed in this book may or may not necessarily be those of the authors. No hatred is aimed at any people or races mentioned within, however, for realism when relating to certain events or situations, the authors feel some quotes from others will need be entered into the text to make the mood or feelings of those at said events or situations as true as possible. The authors must stress their own aversion to any acts of hatred or violence towards others. This book is a historical commentary, nothing more and nothing less.

At the same time, the front of the book contains a “Rest in Peace” dedication to notable Nazi Skinheads, including Clive Sharp of No Remorse, Ian Stuart of Skrewdriver, and Nicky Crane (famously violent Skinhead who later came “out” as homosexual). Some may be bothered by the inclusion of such a dedication, while others will overlook it in the interest of having an authentic insight.

Continues after the jump…

Posted by Christopher Bickel | Leave a comment
‘Thomasine & Bushrod,’ the blaxploitation Western with music by Arthur Lee and Love
01:53 pm



Thomasine & Bushrod is one of four movies Super Fly director Gordon Parks, Jr. (son of the director of Shaft) made before his death in a plane crash at the age of 44. Written by its leading man, Max Julien of Psych-Out and The Mack fame, the movie—often called the “black Bonnie and Clyde”—costarred Julien’s longtime girlfriend, the formidable Vonetta McGee. Julien had previously written Cleopatra Jones for McGee, who appeared in the contemporary genre pictures Blacula and Shaft in Africa, but after Warner Brothers cast Tamara Dobson in the title role, the couple undertook this collaboration, a revisionist Western in which two sexy fugitives deal out justice to despicable white sadists.

(Incidentally, this was not McGee’s first Western. A decade after Thomasine & Bushrod, Alex Cox cast McGee in Repo Man on the strength of her performance in “the greatest of all Italian westerns, Sergio Corbucci’s Il Grande Silenzio.”)

Love circa 1973
Coleridge-Taylor Perkinson’s score quotes the melody of the film’s lovely theme song by Arthur Lee of Love, first heard at the 29:20 mark. I assume Julien and Lee knew each other through Hollywood circles; all John Einarson’s Love biography Forever Changes has to say on the subject is that Lee sold Julien his house on Avenida del Sol in the Hollywood Hills before moving to Sherman Oaks in 1975. Lee’s “Thomasine & Bushrod” is now available as a bonus track on the CD edition of Black Beauty, the 1973 album recorded by an all-black lineup of Love that sat on the shelves until High Moon released it in 2012. This less-than-optimal-quality sound file is the only version on YouTube:
Arthur Lee, “Thomasine & Bushrod”:

As for the movie, you can now rent it for $2.99 (in SD) or $3.99 (HD) on Amazon or YouTube (embedded below). Lee’s song doesn’t play in full until the end credits. I hope the rattlesnake that bit McGee during filming got a taste of outlaw justice from Jomo’s pistols.

Posted by Oliver Hall | Leave a comment
Ghetto Man ‘roasts’ the SuperHeroes, 1979
11:14 am



Legends Of The SuperHeroes was the name given to two Hanna-Barbera-produced live action TV specials from the late 1970s. Batman’s Adam West and Burt Ward once again donned their capes and cowls (which fit a bit tighter by that time) for these lowbrow atrocities which were about on the same level as Donny & Marie and featured an obvious laugh track.

In the second special, “The Roast,” Ed McMahon himself served as the master of ceremonies while various lame insults were leveled at the chuckling, good-natured costumed do-gooders.

In this clip, uh… “Ghetto Man,” an, er… “inner-city,” “urban” superhero (who has the most shit super hero costume ever) tries to bring the funny and (for the most part) fails miserably. I did like the joke about how all superheroes look the same to him, though.

Posted by Richard Metzger | Leave a comment
Judy Garland doing ‘blackface’ two years before ‘The Wizard of Oz’
09:45 am



No, this is not Judy Garland auditioning for the part of “Crazy Eyes” in the original 1938 Orange is the New Black.

It’s amazing that this was not considered unusual in 1938. Two years before she became an immortal megastar with The Wizard Of Oz, Judy Garland performed in blackface in Everybody Sing. This is one of the many ways that Hollywood helped institutionalize racism and there she is, America’s sweetheart, dancing around like a nappy-headed Golliwog and singing goofy lyrics about Uncle Tom’s Cabin! (The year before this, Garland did a number in Babes in Arms as a light-skinned black girl complete with an entire blackface men’s chorus.)

As jaw-dropping as this is, Garland and other performers (like Al Jolson and Mickey Rooney) obviously weren’t conscious of how history would perceive this sort of thing. D.W. Griffiths’ controversial 1916 Birth of a Nation (original title The Clansman) is regarded today as much as an example of a historically significant silent film epic as it is a record of what beastly and commonly held attitudes towards blacks, slavery and the Civil War that Americans held and that Hollywood was portraying well into the 20th Century! (The Ku Klux Klan were the good guys in what is, adjusted for historical and present day monetary value, a film that’s only truly been bested at the box office by Titanic and Avatar.)

In 1938 blackface was still a completely acceptable theatrical convention. But today’s Hollywood knows exactly what it’s doing. Case in point: This year’s No Escape, a xenophobic gore fest starring Owen Wilson in which the bad guys are hordes of bloodthirsty generic Asians from an unnamed country (it’s Thailand). Anybody who isn’t white in No Escape is deadly, faceless and you know, simply brown-skinned. Racism still lives and thrives in Hollywood.

Owen Wilson and the Yellow Peril.
Coming soon: Adam Sandler’s Ridiculous Six, in which the terrifically unfunny “funnyman” pokes fun at Redskins. I really thought we had outgrown this kind of tone deaf bullshit. You can thank Netflix for bankrolling this turd. We’ll never know if this will be the box office bomb that most of Sandler’s films have been in recent years because Netflix doesn’t publicize any numbers, particularly when something fails.

Rob fucking Schneider finally gets a gig… as a Native American?!
In light of the recent events in Paris and San Bernadino County, I fully expect a glut of Hollywood movies in which Muslims will be brutally dispensed with as casually as those savage Injuns in the old cowboy movies. But why be surprised? We’re living in a nation where we award prizes to movies like Zero Dark Thirty, which was nothing more than CIA propaganda with a pro-torture agenda. We were meant to feel more for angsty CIA sadist Jessica Chastain than the innocent victims of waterboarding. None of whom, despite what the film would like you to believe, gave up Osama Bin Laden.

Yes, Hollywood is and always has been a useful propaganda tool. Hell, when the hippies started to make waves they killed off two of them in Easy Rider and a whole fucking commune in Joe. Damn peaceniks!

So yeah this Judy Garland clip is wildly racist—dig the post song scene—but have things really changed that much? I fully expect that the critically praised Beasts of No Nation will be celebrated and receive several awards this season. It’s a well-crafted film with some terrific performances. It’s also a shallow depiction of the brutal violence taking place in West Africa and virtually every African character in the film is a murdering sociopath. What drives the violence is never dealt with in any significant manner. Who cares about that? The movie’s main function seems to be violence for violence’s sake. “Things are hell in parts of Africa.” Period. End of fucking story. The last time I saw a film that depicted Africans as one homogeneous killing machine was Ridley Scott’s lamentable Black Hawk Down. At least the racism in Everybody Sing is out in the open. The new blackface is harder to see, but it’s there.

Posted by Marc Campbell | Leave a comment
‘Good… and long’: Blaxploitation ads for Winston cigarettes, 1970-1973
10:05 am

Class War


The term ‘Blaxploitation’ was coined by NAACP head/film publicist Junius Griffin in the early 1970s to describe the genre of African American action films that followed from the examples set by Cotton Comes to Harlem and Sweet Sweetback’s Baadasssss Song, but the term certainly could have had other applications—racially targeted marketing that sought to move destructive commodities like malt liquor and menthol cigarettes to underclass populations has long been, and justifiably remains, a highly contentious matter, and is inarguably more literally exploitative than any “exploitation” film. compiled a lode of eye-popping examples from a print campaign for Winston cigarettes.

After World War Two American tobacco companies started to explore new markets to maintain their not insubstantial prosperity. The growth in urban migration and the growing incomes of African Americans (called at the time the “emerging Negro market”) gave the tobacco companies what was sometimes called an “export market at home”. Additionally, a new kind of media started to appear after the war when several glossy monthly magazines including Negro Digest (1942, renamed Black World), Ebony (1945) and Negro Achievements (1947, renamed Sepia) began to be published.

These relatively expensively produced magazines were far more attractive to the tobacco advertisers than the cheap ‘negro’ daily newspapers of the pre-war era, with glossy pages and a far wider national distribution. The magazines meant for a purely African American audience also meant that advertisers could produce adverts aimed and featuring African Americans away from the eyes of white consumers.


“Rich.” “Long.” Got’cha. Wink wink.

The juxtaposition of aspirational fashion, rogue-ish male confidence, and burning cigarettes carries an unmistakable message so old it’s hardly worth spelling out. The longing looks from the women in the near-backgrounds aren’t terribly nuanced in their subtext, either. But all the problematics of death-dealing aside, these are objectively awesome photos, amazing snapshots of a time and place when African American culture was asserting a more prominent place in the US mainstream. Airbrush out the cigarettes (or don’t) and change the captions, and these would be amazing menswear ads, too.


More after the jump…

Posted by Ron Kretsch | Leave a comment
After Voter ID law—SURPRISE—Alabama closes DMV offices exactly where most black people live!
12:39 pm



You remember in high school history, when the teacher brought up the old, bad days of Jim Crow? With tales of poll taxes and literacy tests to ensure that access to the ballot remained exclusive to white people?

We like to think that those days are gone, that the Civil Rights Movement of the 1950s and 1960s remedied the worst abuses of systematic white racism. After all, the current occupant of the White House is a descendant of Kenyans. It has to be better.


Well, no.

Those days aren’t gone. They aren’t gone at all.

Most readers are aware that the Republican Party, given to using to a race-baiting rhetoric of resentment that alienates many of the demographic categories required to gain office in many jurisdictions, has adopted a bullshit agenda to fix the scarcely existent problem of “voter fraud” to justify restrictions on voting that—what do you know!—just happen to benefit an electorate that is whiter, older, more affluent, etc.—in other words, more Republican. 

Since Republicans are having trouble winning elections, they are trying to reduce the voting population to the citizens that vote Republican. Nice trick, eh?

Cut to yesterday, when the website for the Alabama Law Enforcement Agency announced that it would be closing 31 of its offices throughout the state, leaving 29 counties without a place where teenagers can take a driver’s test. (For convenience, I’ll using the term “DMV” to stand for such offices.)

As it happens, in 2011 the Alabama state legislature passed a voter ID law as described above, making it impossible to vote in Alabama without a government-issued photo ID. For most Americans, of course, the most common form of government ID—by far—is a driver’s license.

From here, Alabama journalist Kyle Whitmire picks up the thread:

Look at the list of counties now where you can’t get a driver’s license. There’s Choctaw, Sumter, Hale, Greene, Perry, Wilcox, Lowndes, Butler, Crenshaw, Macon, Bullock ...

If you had to memorize all the Alabama Counties in 9th grade, like I did—and even if you forgot most of them, like I have—you can probably guess where we’re going with this.

Depending on which counties you count as being in Alabama’s Black Belt, either twelve or fifteen Black Belt counties soon won’t have a place to get a driver’s license.

Now, I’m going to be honest with you. When I read Whitmire’s article yesterday, I instantly became skeptical. It did not look, to me, that the overlap between the Black Belt and the affected, soon-to-be-non-DMV counties was that strong. After all, if you eliminate services in 29 counties, some of the counties are going to be in the Black Belt, that’s only fair and not necessarily an indication of shenanigans. In fact, to my eye, the map of the affected counties looked like it might be a fair distribution in geographical terms to spread the inconvenience around the state equally.

But I may have underestimated how devious the planners were.

I decided to crunch the numbers, with the help of the 2010 census results for Alabama, which of course have demographic data on race associated with each county. You can find that data here

What I found was extremely concerning, if you are troubled by the rise of a new Jim Crow.

Alabama has 67 counties. Of that set, 29 of them are going to find themselves without DMV services, while 38 counties will continue to have DMV offices. If you take the 29 counties that will not have DMV services, the average percentage of black population is 35.2%. For the other 38 counties, the ones that will still have local access to a DMV office, the average black population is considerably lower, at 22.2%.

I’m going to repeat that:

29 counties without DMV: 35.2% black
38 counties with DMV: 22.2% black

It gets worse.

Of the top 10 “blackest” counties in Alabama (Bullock, Dallas, Greene, Hale, Lowndes, Macon, Montgomery, Perry, Sumter, Wilcox), fully 8 of them will no longer have a DMV. If you restrict the set to the 6 blackest counties (Bullock, Greene, Lowndes, Macon, Sumter, Wilcox), none of them—repeat, none of them—are going to have a DMV office.

Meanwhile, of the top 10 whitest counties in Alabama (Blount, Cherokee, Cleburne, Cullman, DeKalb, Franklin, Jackson, Marion, Marshall, Winston), only 4 will be deprived of a DMV office. For the more restricted set of the 5 whitest counties (Blount, Cullman, DeKalb, Marshall, Winston), only 1 will have its DMV office taken away.

As I indicated, I didn’t want to take some journalist’s word that there were electoral shenanigans going on (although in principle I was perfectly willing to believe that such things do happen, of course). But a quick look at the numbers does suggest that some nefarious things are going on with the closing of these drivers’ license agencies.

If you are the powerful interests in a state, and you cannot win elections legitimately, then you will find illegitimate ways to win elections. Such shenanigans are legion, and almost always concentrated among conservative interests. My favorite for sheer dickishness are the myriads of leaflets that get distributed in impoverished and minority-heavy locations that helpfully remind citizens “to vote this Wednesday!”—i.e. one day AFTER Election Day, or the ones in the same neighborhoods that imply that outstanding parking tickets may cause one to be ineligible to vote—which of course is nonsense.

Remember, nowadays, whenever you hear of anyone complaining about voter fraud, they’re actually trying to deprive Democratic voters and minorities and lower-income people of their right to vote. And when you hear about the closing of driver’s license offices, it’s likely that there is some connection with VoterID laws that require a driver’s license to cast a ballot.

After the jump, helpful maps and demographic data so that you can crunch the same numbers yourself!

Posted by Martin Schneider | Leave a comment
Provocative photos show Flemish traditional costumes worn by men and women of color
10:46 am



For anyone who has spent much time in museums gazing at canvas after canvas of pasty and wealthy snoots from the Low Countries, Maxine Helfman’s “Historical Correction” series of photographs is likely to seem a breath of fresh air. Helfman, who is a white woman in her early sixties and has always adored Flemish portraiture of the 1400-1700 period, started thinking about the people who never qualified for inclusion in the works of Jacob van Utrecht and Bernard van Orley. So, in her series of photographs, Helfman has replaced the faces of those pasty Flemish nobles with those of modern men and women of color.

The power relations inherent in 1542 Flanders, with white Europeans plundering the globe for resources, land, labor—things aren’t so different today, Helfman’s portraits seem to say. Why do these stately portraits seem odd? Do they seem odd? Why aren’t we used to that? The most powerful man on the planet is the direct (and recent) descendant of a Kenyan citizen, and yet that template doesn’t seem likely to recapitulate itself in the future. (And the senseless tragedies of Ferguson, Staten Island, Baltimore, Cleveland still ring in our ears.)

To the Huffington Post Helfman commented, “My intention is to produce bodies of work that look at history and issues of inequality. ... My projects are always shot from a point of respect for my subjects.” In other recent projects, Helfman has worked with black women posing as geishas and boys wearing dresses as a way of fucking with our expectations regarding identity.

Helfman’s fictional narratives provide a different view on history and culture. By blending subjects of color from today with the inescapably classist modes of expression from the distant past, she implies that disentangling race and class might not be possible at the present time. This is not an irreverent project, commented Helfman to CNN. “I never want to create something that’s tongue-in-cheek because that defeats the purpose. ... It’s disrespectful to the [statement] I’m trying to make.” 

And of course, it’s not the final word, by any stretch: “All of my projects begin with that concept,” she says. “It is the conversation that is generated that is fascinating … positive and negative.”


More “Historical Corrections” after the jump…...

Posted by Martin Schneider | Leave a comment
Black metal murderer releases terrible white supremacist role playing game
03:16 pm



Guiding spirit of black metal Varg Vikernes spent 15 years in a Norwegian prison cell for the crime of murdering his fellow black metal practitioner Øystein Aarseth (a.k.a. Euronymous) in August 1993. It is also alleged that he was involved in the burning of at least three churches, although Vikernes denies this. Charmingly enough, on the cover of the EP Aske, released in 1992 by Vikernes’ one-man music project Burzum is a black-and-white picture of one of the churches he is alleged to have torched (the title is also the Norwegian word for “ashes”). (Anyone wishing to learn more about the whole bloody mess is encouraged to check out Michael Moynihan and Didrik Soderlind’s Lords of Chaos: The Bloody Rise of the Satanic Metal Underground.)

Vikernes was released on parole in 2009 and currently resides in France, where, according to Wikipedia, Vikernes “promotes a neo-völkisch ideology (Odalism) based on the idea that White Europeans should re-adopt native European values, including elements of traditional paganism.” He has also released a RPG similar to Dungeons & Dragons called Myfarog that espouses explicitly white supremacist beliefs.

The name Myfarog is a kind of acronym, standing for “MYthic FAntasy ROle-playing Game.” Intrepid reporter Jeff Treppel at Metal Sucks went and acquired a copy of the game (it’s a book, really) and wrote up an incisive account of why it’s a terrible game and also, far more important, why it’s a really racist game. As Treppel writes: “Look, I’m not stupid. ... You want to know just how racist this RPG is. Well, spoiler: it’s really fucking racist.” The game is designed to propagate Vikernes’ white supremacist beliefs, and it does that with no noticeable subtlety.

Here’s Treppel’s summary of the racial schema used in Myfarog:

There are a wide variety of races available for the player to choose from, as long as that race is Scandinavian. The lighter the hair and the fairer the skin, the more blessed by the gods your character is. And, of course, the higher born the better. Nobles are naturally superior to the peasantry in this world. It’s the natural order of things.

Treppel also includes an image from the book, a full page describing the groups that correlate to Christians, Muslims, and Jews in the Myfarog schema, which is so disgusting that Treppel declines to summarize the contents. Suffice it to say that

People of Middle Eastern and African descent are represented. They are the “filthy”, “vulgar”, “poorly educated”, “animalistic” Koparmenn (“Copper Men”). You can’t play them; they are intended to be cannon fodder. There are two varieties of Copper Men: the Skrælingr (“Weaklings”) and the Myrklingr (“Darklings”). I’m pretty sure that the Weaklings are supposed to be Semitic people, as they receive a bonus to trickery. The Darklings, meanwhile, receive a bonus to spear throwing. You can guess who they’re supposed to represent.

As Treppel points out, this summary of the “motivations for adventure” concludes with a description of a campaign in which you must defend a realm from “savage and subhuman Koparmenn and untrustworthy Eirmenn” that is indistinguishable from ethnic cleansing:

As mentioned, the game is apparently so convoluted that it’s well-nigh unplayable, so it’s just too bad if you happen to be a big fan of Nazi ideologies!

Here’s a commercial for the game from last October:

After the jump, Vikernes discusses the relationship between a survivalist worldview and RPGs…

Posted by Martin Schneider | Leave a comment
Artist creates hyperrealistic sculptures of LA gang members as skin-rugs
10:54 am



Check out artist Renato Garza Cervera‘s super-disturbing series “Of Genuine Contemporary Beast.” Cervera created sculptures depicting L.A. gang members as rugs, complete with the hokey feral faces a taxidermist would give a tiger or bearskin. If you’re revolted by such a racist and inhumane depiction of dead young men, congratulations—that’s the intended effect; Cervera’s work is supposed to produce discomfort with blatant dehumanization.

Societies always invent new beasts in order to make others responsible for their problems, to express their fears and to invent them a new cover. Mass media play a very important role on this world-wide scapegoating process, by presenting some minorities as uncapable of thinking or feeling, delayed and dispensable people.

The startling detail in the tattoos and skin of each sculpture—right down to their anuses—contrasts so intensely with the uniformity of their faces; the effect is the kind of uncanny creepiness that inspires nightmares.


More of these creepy and provocative artworks after the jump…...

Posted by Amber Frost | Leave a comment
Take a look at the real ‘Warriors’ from the 1993 documentary film ‘Flyin’ Cut Sleeves’
10:09 am

Class War


Savage Skulls gang, Bronx NY
Members of the Savage Skulls circa late 60’s, early 70’s
In the ‘60s and ‘70s, gangs not unlike the ones featured in Walter Hill’s The Warriors owned the streets of New York City. The 1993 documentary film Flyin’ Cut Sleeves takes a look back at the volatile years that eventually culminated in a truce and subsequent “peace meeting” held at the Hoe Avenue Boys Club in 1971 by the gangs themselves. The real-life events are strikingly similar to the storyline from Hill’s 1979 film.
Young members of the Savage Skulls gang
Young members of the Savage Skulls
According to the statements made in Flyin’ Cut Sleeves, in 1969 the NYPD put the number of organized gangs at 100, with membership as high as 11,000. Many gang members were just kids, barely in high school. Some of the most compelling footage in the film comes from interviews that were shot by Rita Fecher, a schoolteacher working at that time in the South Bronx. From her interviews with her students, Fecher was able to glean that the vast majority of her pupils were also active gang members. It is a gritty and dark exploration of a desperate time in New York City—Fecher notes at one point in the film that she received an absence note from a family that could not send their child to school because he had no shoes.

Flyin’ Cut Sleeves was released on DVD in 2010, and you can score a copy here. I’ve included a slew of vintage images of many of the gangs featured in the film as well as Flyin’ Cut Sleeves in its entirety. There’s also a brief NSFW video that was shot at the Hoe Avenue Peace Meeting for you to check out.
Gangs of the South Bronx in the 1970's
Sagave Skulls gang members
After the jump, more remarkable images of the Flyin’ Cut Sleeves gangs as well as the full movie (and a bonus video too).....

Posted by Cherrybomb | Leave a comment
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