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Todd Youth,Agnostic Front, Warzone, Murphys Law Dies

Todd Youth (Warzone, Murphy’s Law, etc) reportedly passed away

by Andrew Sacher October 27, 2018 2:25 PM

Todd Youth passes away, a huge loss to the Punk Rock community worldwide

NYHC legend Todd Youth, who played in Agnostic Front, Warzone, Murphy’s Law, D Generation, Danzig, and more, and most recently Fireburn, has reportedly passed away. Todd’s Fireburn bandmate Ras Israel Joseph I (also formerly of Bad Brains) posted on Facebook:

On the passing of my friend, and my Brother Todd Youth
There are no words to express how sad I am at the passing of my brother Todd Youth. The music he made will forever be remembered, and I’m so thankful that I was able to work with him and that we created Fireburn together. Todd and I were living separate lives doing hardcore and reggae music. We met each other in 1992 and then never spoke again until 2017. We created Fireburn within two weeks of knowing each other and finished writing two of my favorite hardcore records that I ever worked on: “Don’t stop the youth”, and “Shine”. Closed casket records signed the band and we were on our way. We had great shows and lots of people showed up to them. We toured with gbh from England, hung out with the guys from Negative Approach, and got our blessings about our music and our records from the Bad Brains. I know that Todd is now resting in peace and I know that Krishna is taking his soul to a better place. He was a devout Hari Krishna and The Devout human being. Todd wherever you are I hope that we will make music again one day. Life is a circle and I know I’ll meet you again in that circle brother. We will meet again. Rest In Peace, Rest In Power, rest my brother. I am saddened that we cannot make music again together, but I am happy that you are finally going home to be with Krishna that Haile Selassie has finally giving you peace and comfort my brother. one day, I too will lay down and die. This body that I ware is temporary. I will probably be alone. They’re probably be no one around me. However I know that I will join you and all of our other friends in that good place and we’ll all see each other again. I’m sorry you died Todd. I’m sorry I can’t see you again. I’m sorry I wasn’t there to help you. You are my friend and my brother and I love you. Rest in peace my brother. May your visit to our Heavenly Home be full of peace, and comfort, and closeness to Krishna. Haribo. Haile Selassie I. FIREBURN.

Todd Youth live on stage

NYHC show promoters BlacknBlue Productions also posted, “I can’t ….. A very sad day for NYHC FAMILY . 😞😞😞🙏🏼🙏🏼 Todd Youth . We love you . Condolences to all friends & family . Tell the people you love that you love them any chance you get.”

Todd was always such a positive character and passionate about his music. The scene has lost a great character. On behalf of The British Skinhead and Punk scene I send my most sincere thoughts and love to all his family and friends across the pond

Symond ( subcultz ) England

Hatebreed also posted a tribute:

Rest in peace, Todd. You’ll be missed and your crucial contributions to NYHC and beyond will live on.

Watch the full set video of Todd playing with Warzone for the Raybeez tribute in 2017, stream the latest Fireburn single, and listen to one of the Murphy’s Law classics he recorded with them:

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Doug and The Slugz confirmed for Great Skinhead Reunion Brighton England June 2019

Doug And The Slugz from Los Angeles. Original 1983 American Oi band confirmed for Great Skinhead Reunion 2019.

Doug And The Slugz American Oi! band 1983. Live at The Great Skinhead Reunion 2019

Many of us British skinheads had no idea we were making waves across the globe, to many of us we lived our lives on our council estate ‘The Manor’ If a gig happened in a neighbouring town or City we might venture off. A bank holiday down to Brighton, or a London gig was as far as our world existed, We were blacklisted and ostracized in the media, hated by many, Understood by Few. But across the globe our subculture of skinheads was hatching, breaking out and building. As times changed and fashions moved on. Our Skinhead culture developed and spread. The USA and UK have always inter related with music and fashion. The skinhead culture no exception. We warmly welcome Doug And The Slugz to The Great Skinhead Reunion, Brighton England. June 2019

Doug & The Slugz formed in February 1983 in the North East Los Angeles suburb of South Pasadena, California. The bands original members consisted of Scott Graham on guitar, Doug Kane on vocals, Marc “Sard” Overton on bass, and Kevin Flanagan on drums. During the early months of 1983 the band would have its first rehearsals in original drummer Kevin Flanagan’s garage.

The Slugz were inspired by Oi! bands like the 4 Skins, The Last Resort and The Business but records from these UK bands were a bit difficult to locate in Southern California in the early 1980’s. Most record stores that carried underground music kept their shelves stocked with the more popular Los Angeles Hardcore bands like Black Flag, Circle Jerks, TSOL and assorted English punk imports. Oi! music was not very well known at this time in the United States but Kane, Graham and Overton had become bored with the local LA punk sound that was becoming increasingly stagnant and went reaching out for something different. With Oi! music they were attracted to the aggressive skinhead attitude and the solidarity between skinheads. It was the ultimate “us against them” working class music that drove these 3 Los Angeles teenagers to start one of the very first skinhead Oi! bands on the US West Coast. On the East Coast, Iron Cross from DC had established itself as an early Oi! influenced band, Agnostic Front out of NYC, The Effigies in Chicago, and way out on the West Coast was Doug and the Slugz.

Kids from the neighborhood would pile into Flanagan’s garage so they could hear the songs and get drunk. Many of these neighborhood kids quickly got hooked on the sounds of Oi! music. They shaved their heads and embraced the skinhead fashion of Doctor Marten Boots, Braces, and Combat Jackets. Just like Los Angeles, these kids were a mix of white, black, latino and asian that found common ground in the music. Crown City Firm was an early name given to this group of kids that mostly resided in the Pasadena area. “Crown City” being an old nickname for the city of Pasadena and “Firm” was a nod to the more extreme supporters of English football clubs. One particular inspiration was a black & white magazine photo that hung on the wall in Scott Graham’s room of a Fulham Firm skinhead.

Due to the increasing number of kids turning up from the surrounding North East Los Angeles neighborhoods, the name was changed to better reflect this group of kids, and as a broader territory designation. This loyal following became known as the North Side Firm and would follow the band wherever they were given the go ahead to play.

In April 1983 local San Gabriel punk band Decry, invited Doug & The Slugz to play their first real club show at the infamous punk dive, Roxanne’s Bar, located in Arcadia, Ca. The bar owner Joe would allow the under age punks to come in and watch the bands play while at the back of the bar sat middle aged Vietnam war veterans and drunk bikers. The mixed company found no liking to one another and at times that would result in fist fights in the alley behind the bar.

By Summer of 1983, original bass player Sard Overton was replaced by local skinhead Craig Pousen. Pousen would frequent shows at Roxannes Bar and help the band out with transportation when needed. The Slugz carried on through the Summer and Fall of 1983 delivering their brand of the Oi! skinhead sound to backyard San Gabriel Valley punk rock parties and occasionally crossed into Hollywood.

This new line up molded quickly and the band started recording demo tapes with local producer Devin Thomas at South West Sound Studio in Sierra Madre, Ca. The first printed cassettes were being sold and given away at shows. Some of those songs, like “Skinhead Faction”, was getting radio play on Sunday nights by legendary DJ Rodney Bingenheimer (Rodney On The Roq) on the world famous 106.7 KROQ radio station.

Doug & The Slugz had officially arrived on the LA punk rock scene supporting bands such as Ill Repute, Decry, Stalag 13, Flower Leopards, The Grim, and Mad Parade. As the band became a bit bigger, so did The Firm and certain promoters started shying away from letting the Slugz play their venues. Club owners became well aware that when the band arrived, not far behind it was the gang and the violence they brought with them. The frequent violence surrounding the band would eventually draw the attention of both local law enforcement and the LAPD. The North Side Firm found themselves listed as one of the very few multi racial gangs on the Los Angeles County Sheriff gang task force list.

The band knew they needed to get with a record label as soon as possible to get their music out to more skinheads. The skinhead scene in 1983 on the West Coast of the United States still had small numbers. Kane and Graham knew that if they were going to have any luck with releasing a record they would have to talk with someone in the UK who better understood what they were doing. Kane had been in touch with Mark Brennan, the bassist from the London Oi! band The Business. Kane sent the demo tape to their label Secret Records and to No Future Records hoping he would have some luck. There was never any reply from Secret or No Future Records so Kane turned to the infamous skinhead clothing store The Last Resort in east London hoping for better results. The Last Resort band had released their “Skinhead Anthems” album with the store. Kane had ordered it directly from the shop months prior, so he knew the store was releasing records. After a few weeks and no return letter, they gave the store a call. Lo and behold, they got owner Micky French on the phone. French got a kick out hearing the voices on the other end, all the way from sunny southern California. He told Kane that he did receive the demo tape and thought the music was great! He said that he was even playing their music in the shop for the skinhead patrons! He mentioned that he might put out another compilation at some point on his record label and asked that the band stay in touch.

In 1984 Doug & The Slugz went back in the studio to record one last batch of songs, and this time they would recruit 13 year old Aaron Sperske to beat on the drums. Sperske replaced Flanagan, and the band carried on playing numerous shows throughout Los Angeles. Over time, The Firm would become fully integrated with and within the band. The band and the gang became one. In addition, Graham and Kane found themselves in and out of jail for numerous crimes. Needless to say, gigs became difficult to get. The Firms’ numbers swelled by the Summer of 1984 to over 100 skinheads throughout Los Angeles County. The North Side Firm found itself in constant battles with other well known Los Angeles punk gangs like the Suicidal Tendencies Gang, FFF (Fight For Freedom), LADS (LA Death Squad). LMP (La Mirada Punks), Circle One Family, HRP (Hollywood Rat Patrol), etc.. Not only were there gang wars with these numerous punk gangs but the North Side Firm became entangled with Mexican street gangs as well as Crip and Blood gangs.

By October of 1984, Doug & The Slugz changed their name to The Risk in an attempt to salvage things and find a new start.

They landed numerous gigs and got rave reviews, but things quickly began to unravel in California with the spread of racism within the skinhead scene.

1985 arrived and The Risk and The Firm found themselves at the forefront of fighting off any neo nazi skinheads that attempted to show up to their gigs. Despite all the trouble brewing and the various challenges on the band, The Risk managed to keep playing until September 1985. Their final rehearsal would be at the renowned punk rehearsal spot Hully Gully Studios. Located in Atwater, Ca, Hully Gully Studios frequently hosted bands like X, The Pretenders, and The Blasters. As The Risk turned up the amplifiers for what became the very last time, the mood in the room was dim. The boys knew this would be the last time they would play these songs together. Three long turbulent years had taken its toll on the band. The violence, the incarcerations, the drugs, and the booze had just become too much for any of them to carry on playing music together. As the mid 1980’s came to an end, Graham and Kane would dive further down the dead end road of gangs and crime while Pousen and Sperske slipped into drug fueled abandon. The very first Oi! Skinhead band in Los Angeles would now become history.

Looking back, this was a time when youth tribalism was still taken very serious. There was very little intermingling between the tribes. Most of us were punks before becoming skinheads. As punk rockers, it felt like everyone was against you, but punk rock by the late 70’s/early 80’s had an infrastructure in place. By the early 1980’s, Los Angeles had several punk record stores, dozens of venues, and punk rock parties happening somewhere just about every night. As a skinhead, the options narrowed significantly. Skinhead pre-dates punk rock by nearly a decade but even today remains relatively scarce on the cultural radar. You often felt like outcasts among outcasts. The upside was that very strong bonds developed. You became hyper protective of your friends and where you hung out. Train track embankments, bridge underpasses, and garages converted into rehearsal/party spaces became sacred ground.

By the late 1980’s, a few highly publicized incidents in the US by neo-nazi “skinheads” had attracted media attention and public perception of skinheads has subsequently been a resoundingly negative one. Those that don’t already know its history, aren’t likely to go looking and those that know…know.

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My mum, The Punk Rock pioneer of X-Ray Spex : Poly Styrene’s daughter Celeste Bell

My mum, the punk pioneer: Poly Styrene’s daughter remembers the X-Ray Spex leader

Six years since her death, the punk singer remains hugely influential. Her daughter reflects on learning ‘the family business’, how fame nearly broke her mother – and why she’s making a film of her life

Celeste Bell

Poly Styrene in her early days.
Poly Styrene Punk girl icon

 Poly Styrene in her early days.
Photograph: Anorak London

Even when I was really young, I knew what my mum did for a living. She was always working on something: writing music, recording, doing interviews. As I got older, she’d tell me about the punk movement, about the musicians she knew and what it was all about.

We lived with my grandmother on and off through that period, and she saw punk very differently. For my grandmother being a punk meant things like wearing odd-coloured socks, which she didn’t approve of. Even Mum didn’t like a lot about punk, too. There was loads she found exciting, of course, but she’d tell me plenty of the negative stuff: the aggressiveness of the crowds, the spitting on stage, how very few women were present at many of these gigs – and how that made her terribly anxious about performing. I realised later she was trying to warn me off becoming any kind of performer, in case I got any ideas.

Poly Styrene with her X-Ray Spex bandmates in 1978.
 Poly Styrene with her X-Ray Spex bandmates in 1978. Photograph: Evening Standard/Getty Images

My mum was really a girl when she started playing music: she was 15 when she began performing, younger than most of the other female artists on the scene. Even though she was more talented and had more important things to say than a lot of her contemporaries, she felt she wasn’t taken seriously – not only because she was a young girl, but also because she was working class and didn’t finish school. All of this made it a massive challenge to get any respect from people in the music industry.

Poly Styrene: The Spex factor

When I was a young kid, in the late 80s, she was involved in the Hare Krishna movement. Through that she became friends with people such as Boy George and Chrissie Hynde. I assumed all this spiritual stuff and having well-known people coming and going was the norm. At some points, we were pretty much living in a temple, and everything revolved around Hare Krishna, including her music. I used to tell her: “Nobody’s interested in hearing songs about Krishna, Mum.” But she didn’t care.

Then, when I was 10 or 11, she reconnected with X-Ray Spex and started work on what would become the Conscious Consumer album. Soon after, she had her first website and she started being more in touch with fans. I began to realise just how many fans she had, and how worldwide her support was.

When I turned 15 she gave me a copy of Germfree Adolescents, and I started to understand what a great writer she was. I’d grown up listening to hip-hop and music like that of Rage Against the Machine – which, in the way of all parents, she didn’t approve of, as she told me it would encourage bad behaviour!

X-Ray Spex did a comeback gig at the Roundhouse in London in 2008, playing Germfree Adolescents in full, and my band opened the show. I’d already seen them play Brixton Academy but being up on stage brought home the size of the audience. I was also able to meet a lot of people in the audience at that gig – people would come up to me, say how much they loved X-Ray Spex and what my mum meant to them, which brought home how deep an impact she’d had.

Poly Styrene in 1991.
 Poly Styrene in 1991. Photograph: Ian Dickson/Redferns

When Mum passed away in 2011, lots of people came to the funeral who I wasn’t necessarily aware she’d known. There was so much genuine love, and genuine sadness – I was moved to see that depth of feeling for her.

My mum was quite a businesswoman in how she approached her music and legacy, and she always got me involved in “the family business”, such as writing for her website. And she even suggested I take over as leader of X-Ray Spex. She still hated performing, it brought back all those old anxieties, and I guess I could have done it – I do sound a lot like her, and in a certain way it could’ve been fun. But it would have been way, way too weird for me.

She was contradictory, though, and she remained apprehensive about me being a performer, because she said music remained a toxic environment for women. I wonder if my mum might have had a happier life if she hadn’t had that level of fame. She was always wondering what might have happened if she hadn’t dropped out of school, and although the music brought her excitement and opportunities that most people never have, it also robbed her of her mind in a sense. I think the experiences she had probably triggered latent mental health problems.

Poly Styrene performing

When I saw the documentary about Amy Winehouse, with her getting trapped by her success so young, I did notice a lot of parallels: fame, even on a small scale, really does break some people. But Mum didn’t let it get her completely – that’s why she never did what was expected of her musically. She might not have been able to recapture the unique thing she created with Germfree Adolescents, but she never let anyone tell her what to be. She was true to herself, always.

For these reasons, I wanted to make a film about her – I’m currently raising money to create Poly Styrene: I Am a Cliche. Whenever I talk about her, I think what I really want people to realise is just what a great writer my mum was. Not just a symbol of something, or another part of the punk story, but an amazing talent. With Germfree Adolescents she built this whole world that touched on sci-fi, dystopias, social criticism, the role of women, all these things. I honestly think it’s one of the greatest records of the late 20th century. She was 15 or 16 when she started composing those songs, she hadn’t done her O-levels, she’d got into all sorts of trouble – but she could write this incredibly prophetic stuff and understand the world in a way I don’t think most of her contemporaries could. I am truly proud of her work, and my long-term goal is to get more people to understand this.