However, none of the bands associated with the original Oi! scene promoted racism or far-right politics. 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. Oi! songs also covered less-political topics such as street violence, football, sex, and alcohol. Lyrical topics included unemployment, workers' rights, harassment by police and other authorities, and oppression by the government.
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The prevalent ideology of the original Oi! movement was a rough brand of working-class rebellion. The word is a British expression meaning hey or hey there! 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. 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. Although Oi! has come to be considered mainly a skinhead-oriented genre, the first few Oi! bands were composed mostly of punk rockers and people who fit neither the skinhead nor punk label.įirst-generation Oi! bands such as Sham 69 and Cock Sparrer were around for years before the word Oi! was used retroactively to describe their style of music.
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Feelgood, Eddie and the Hot Rods and The 101ers, and glam rock bands such as Slade and Sweet. 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. 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.