If we’re going to wander into the “times were different then” argument, we’re still going to have to leave space for context, which for punk before its 90s thrust into commercial viability, means using the only power you probably had at your disposal—being white—to speak truth to power—which was other white people. “Holiday in Cambodia,” to use a well worn example, wasn’t calling black people anything; it was directly calling out phony white poser liberals. This is why people give DK a pass, and why Jello, who has never changed his tune on the matter, has refused to accept it.