[1][2] Ethnomusicologist Benjamin R. Teitelbaum argues that white power music "can be defined by lyrics that demonize variously conceived non-whites and advocate racial pride and solidarity.
[4][5] Barbara Perry writes that contemporary white supremacist groups include "subcultural factions that are largely organized around the promotion and distribution of racist music.
[2] European governments regularly deport "extremist aliens", ban white power bands and raid organizations that produce and distribute the music.
[1][10] The songs expressed resistance to the federal government and civil rights advocates who were challenging well-established white supremacist practices which were endemic in the American South.
Malone writes: "the struggles waged by black Americans to attain economic dignity and racial justice provided one of the ugliest chapters in country music history, an outpouring of racist records on small labels, mostly from Crowley, Louisiana, which lauded the Ku Klux Klan and attacked African-Americans in the most vicious of stereotypical terms.
"[1][12] The artists often adopted pseudonyms, and some of their music was "highly confrontational, making explicit use of racial epithets, stereotypes and threats of violence against civil rights activists.
"[14] The studio's second release, "Flight NAACP 105" by "the Son of Mississippi" (Joe Norris), was the label's bestseller; the track was a "spontaneous skit in the vein of Amos 'n' Andy.
[1][16] Johnny Rebel, the pseudonym that Cajun country musician Clifford Joseph Trahane used on racist recordings issued in the 1960s, became the "forefather of white power music.
"[14] Because of bootlegged records and Internet interest, Johnny Rebel's career continued; in the late 1990s he was rediscovered, and he re-released his music on CD and promoted it with his own website.
[14] Johnny Rebel recorded and released "Infidel Anthem", about "the whipping America should lay on Osama bin Laden," leading to an appearance on The Howard Stern Show, where his new compilation CD and the new song were promoted.
"[1] Bands that followed their lead also "fused racist ideology, heavy metal and hard rock styles", embracing "aggressive racism and ethnic nationalism".
"[28] Bands whose members hold Nazi beliefs but do not express these through their lyrics are generally not considered NSBM by black metal musicians, but are labelled as such in media reports.