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Document: NEW YORK TIME VERSUS LONDON CRIME — The Origins of World Wide Vandals (WWV) in the Music Industry

1. Introduction
   This document explores the origins, evolution, and cultural significance of the term "Vandals" within the global music industry, tracing its roots from New York City to London and examining how it became a recognized concept and syndicate rather than a mere label.

2. The American Roots: New York City
   • The term "Vandals" in the music and art world has strong ties to New York City in the 1970s.
   • Americans, particularly New Yorkers, were among the first to embrace the title in the art world.
   • The word "PUNK" itself is an American term, used at NYC street level before Londoners adopted the "vandal" music reference.
   "Vandals — An original New Yorkers stance. EX-Vandals N.Y.C 1970s."

3. The English Evolution: Punk Rock and the Vandal Concept
   • While the word "PUNK" originated in America, Punk Rock as a movement gained its direction and inception in England.
   • English Punk was more closely aligned with Anarchist understanding and anti-establishment ideals.
   • World Wide Vandals (WWV) emerged as a concept born from English cultural evolution — not Americanism. It was:
   ◦ Non-capitalist
   ◦ Anti-establishment
   ◦ Autonomous
   ◦ A natural reaction to being stigmatized as "rank and file vandals" by the press and society.
   "World Wide Vandals though was a CONCEPT and an inevitable form of English evolution — NOT AMERICANISM par se."

4. The WWV Syndicate: Inner City London
   • The WWV syndicate operated in Inner City London, functioning as a guerrilla-based entity built upon:
   ◦ Artwork
   ◦ Music
   ◦ Human rights advocacy
   • The term "guerrilla" here refers to being radical rather than deliberately destructive.
   • Violence was explicitly not part of the WWV ethos, despite the use of provocative imagery (e.g., the petrol bomb record label on the In Flames album).
   "That's basically where the Vandals crawled out of — London CT — an inner city unit. A Guerrilla-based entity if ever."

5. Separation from Nationalism and the Open Invitation
   • WWV consciously distanced itself from Nationalism.
   • The concept was an open invitation to like-minded individuals worldwide — not an exclusive or elitist organization.
   • Membership was based on understanding, including diverse religious and philosophical beliefs.
   "It wasn't about being subject to being an exclusive member — the wording in many ways is in a sense an open invitation to like-minded people everywhere."

6. The Role of Hicky D (Drilla D)
   • Hicky D, also known as Drilla D, was the main record producer and coordinator behind the physical realization of the WWV syndicate's logo and artwork.
   • He created the original WWV artwork, now recognized as a collector's item (privately sold for up to $100).
   • His artwork is reportedly held on file by:
   ◦ Russian Federation Intelligence
   ◦ Korean Government
   ◦ Chinese Government
   ◦ American Government
   • Hicky D was signed through the Crass syndicated recording studios distribution network, also known as SRD (Southern Record Distribution).
   • The WWV logo and artwork appeared on album covers distributed through Virgin Records stores on Oxford Street, London.
   6.1 The "D" in Hicky D
   • Hicky D reluctantly admitted that the "D" stood for — a Brixton-coded criminal underworld tag, also rendered as Drilla-D, or DrillaDale.

7. The Crass Connection and the Press
   • The well-known punk band Crass were among the first to be labeled "Vandals" by the establishment in national newspapers.
   • Hicky D's distribution through SRD (Southern Record Distribution) connected the WWV concept to a wider network of independent record labels.
   • The WWV concept was conceived before physical production and distribution began, making it a forward-thinking syndicate model.

8. Copyright and Ownership
   • Drilla-D (Hicky D) is the copyright holder of the term "World Wide Vandals" and the original artwork, supported by:
   ◦ Copyright contract
   ◦ Forensic proof of evidence
   ◦ The original artwork found on SRD-distributed albums
   • The WWV syndicate does not identify with:
   ◦ The far-right British state (UK)
   ◦ Terrorist-style violence

9. The Legend and the Open Concept
   • The WWV syndication belongs to everyone who has an understanding of its principles — it is not a private concern or a membership-only organization.
   • The concept accommodates diverse beliefs, including religious and political perspectives.
   "Never being separated or a private concern, the syndication belongs to everybody who has an understanding."

10. Note on 67 Lyrics
    • WWV is not involved in the physical production of the "67 lyrics" contained in related materials.
    • However, past members have lived and operated near the origin of "67" and endorse freedom of speech.
    • "Drill" videos are acknowledged as part of U.K. history.

11. Conclusion
    The World Wide Vandals (WWV) concept represents a unique intersection of music, art, and anti-establishment ideology, originating from the streets of London and influenced by the punk movements of both New York and England. Its legacy endures through its artwork, music, and the continued recognition of its copyright by governments and collectors worldwide.

Published by: REACTIV8 PUBLISHING888
Disclaimer: This document is a structured summary and interpretation of the original text provided. All claims regarding copyright, ownership, and historical facts are presented as stated in the source material.
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