Introduction:
Oi! is a subgenre of punk rock that originated in the United Kingdom in the late 1970s.[1] The music and its associated subculture had the goal of bringing together punks, skinheads and other working class youth.[2][3] The Oi! movement was partly a response to the perception that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic...and losing touch".[4] André Schlesinger, singer of The Press, said, "Oi shares many similarities with folk music, besides its often simple musical structure; quaint in some respects and crude in others, not to mention brutally honest, it usually tells a story based in truth."[5] Oi! became a recognised genre in the latter part of the 1970s, emerging after the perceived commercialisation of punk rock, and before the soon-to-dominate hardcore punk sound. It fused the sounds of early punk bands such as the Sex Pistols, the Ramones, The Clash, and The Jam with influences from 1960s British rock bands such as the Small Faces, and The Who, football chants, pub rock bands such as Dr. Feelgood, Eddie and the Hot Rods, and The 101ers, and glam rock bands such as Slade and Sweet. Although Oi! has come to be considered mainly a skinhead-oriented genre, the first Oi! bands were composed mostly of punk rockers and people who fit neither the skinhead nor punk label. First-generation Oi! bands such as Sham 69 and Cock Sparrer were around for years before the word Oi! was used retrospectively to describe their style of music. In 1980, writing in Sounds magazine, rock journalist Garry Bushell labelled the movement Oi!, taking the name from the garbled "Oi!" that Stinky Turner of Cockney Rejects used to introduce the band's songs.[6][7] The word is an old British expression meaning hey or hello. In addition to Cockney Rejects, other bands to be explicitly labeled Oi! in the early days of the genre included Angelic Upstarts, The 4-Skins, The Business, Anti-Establishment, Blitz, The Blood, and Combat 84.[8] The prevalent ideology of the original Oi! movement was a rough brand of working-class rebellion. Lyrical topics included unemployment, workers' rights, harassment by police and other authorities, and oppression by the government.[4] Oi! songs also covered less-political topics such as street violence, football, sex, and alcohol. Some fans of Oi! were involved in white nationalist organisations such as the National Front (NF) and the British Movement (BM), leading some critics to dismiss the Oi! subgenre as racist.[4] However, none of the bands associated with the original Oi! scene promoted racism or far-right politics. Some Oi! bands, such as Angelic Upstarts, The Business, The Burial and The Oppressed were associated with left wing politics and anti-racism, and others were non-political.[9][10][11] The Rock Against Communism (RAC) had partial development from white power/white supremacist movements, which had musical and aesthetic similarities to Oi! Although due to Cold War fears the genre had appeal to some punk rock bands distinct from original Oi! in that they opposed all totalitarianism,[12] but was not connected to the Oi! scene. Timothy S. Brown writes: [Oi!] played an important symbolic role in the politicization of the skinhead subculture. By providing, for the first time, a musical focus for skinhead identity that was 'white'—that is, that had nothing to do with the West Indian immigrant presence and little obvious connection with black musical roots—Oi! provided a musical focus for new visions of skinhead identity [and] a point of entry for a new brand of right-wing rock music.[13]
No.2 subway
Oi! is a subgenre of punk rock that originated in the United Kingdom in the late 1970s.[1] The music and its associated subculture had the goal of bringing together punks, skinheads and other working class youth.[2][3] The Oi! movement was partly a response to the perception that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic...and losing touch".[4] André Schlesinger, singer of The Press, said, "Oi shares many similarities with folk music, besides its often simple musical structure; quaint in some respects and crude in others, not to mention brutally honest, it usually tells a story based in truth."[5] Oi! became a recognised genre in the latter part of the 1970s, emerging after the perceived commercialisation of punk rock, and before the soon-to-dominate hardcore punk sound. It fused the sounds of early punk bands such as the Sex Pistols, the Ramones, The Clash, and The Jam with influences from 1960s British rock bands such as the Small Faces, and The Who, football chants, pub rock bands such as Dr. Feelgood, Eddie and the Hot Rods, and The 101ers, and glam rock bands such as Slade and Sweet. Although Oi! has come to be considered mainly a skinhead-oriented genre, the first Oi! bands were composed mostly of punk rockers and people who fit neither the skinhead nor punk label. First-generation Oi! bands such as Sham 69 and Cock Sparrer were around for years before the word Oi! was used retrospectively to describe their style of music. In 1980, writing in Sounds magazine, rock journalist Garry Bushell labelled the movement Oi!, taking the name from the garbled "Oi!" that Stinky Turner of Cockney Rejects used to introduce the band's songs.[6][7] The word is an old British expression meaning hey or hello. In addition to Cockney Rejects, other bands to be explicitly labeled Oi! in the early days of the genre included Angelic Upstarts, The 4-Skins, The Business, Anti-Establishment, Blitz, The Blood, and Combat 84.[8] The prevalent ideology of the original Oi! movement was a rough brand of working-class rebellion. Lyrical topics included unemployment, workers' rights, harassment by police and other authorities, and oppression by the government.[4] Oi! songs also covered less-political topics such as street violence, football, sex, and alcohol. Some fans of Oi! were involved in white nationalist organisations such as the National Front (NF) and the British Movement (BM), leading some critics to dismiss the Oi! subgenre as racist.[4] However, none of the bands associated with the original Oi! scene promoted racism or far-right politics. Some Oi! bands, such as Angelic Upstarts, The Business, The Burial and The Oppressed were associated with left wing politics and anti-racism, and others were non-political.[9][10][11] The Rock Against Communism (RAC) had partial development from white power/white supremacist movements, which had musical and aesthetic similarities to Oi! Although due to Cold War fears the genre had appeal to some punk rock bands distinct from original Oi! in that they opposed all totalitarianism,[12] but was not connected to the Oi! scene. Timothy S. Brown writes: [Oi!] played an important symbolic role in the politicization of the skinhead subculture. By providing, for the first time, a musical focus for skinhead identity that was 'white'—that is, that had nothing to do with the West Indian immigrant presence and little obvious connection with black musical roots—Oi! provided a musical focus for new visions of skinhead identity [and] a point of entry for a new brand of right-wing rock music.[13]
No.2 subway
Top Things to Do in Oi!
Where is Oi!
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