Embleme Und Runen in Der Rechten Szene
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White Noise Music - an International Affair
WHITE NOISE MUSIC - AN INTERNATIONAL AFFAIR By Ms. Heléne Lööw, Ph.D, National Council of Crime Prevention, Sweden Content Abstract............................................................................................................................................1 Screwdriver and Ian Stuart Donaldson............................................................................................1 From Speaker to Rock Star – White Noise Music ..........................................................................3 Ideology and music - the ideology of the white power world seen through the music...................4 Zionist Occupational Government (ZOG).......................................................................................4 Heroes and martyrs........................................................................................................................12 The Swedish White Noise Scene...................................................................................................13 Legal aspects .................................................................................................................................15 Summary........................................................................................................................................16 Abstract Every revolutionary movement has its own music, lyrics and poets. The music in itself does not create organisations nor does the musicians themselves necessarily lead the revolution. But the revolutionary/protest music create dreams, -
Identifying Extreme Racist Beliefs
identifying extreme racist beliefs What to look out for and what to do if you see any extreme right wing beliefs promoted in your neighbourhood. At Irwell Valley Homes, we believe that everyone has the If you see any of these in any of the neighbourhoods right to live of life free from racism and we serve, please contact us straight away on 0300 discrimination. However, whilst we work to promote 561 1111 or [email protected]. We take equality, racism still exists and we want to take action to this extremely seriously and will work with the Greater stop this. Manchester Police to deal with anyone responsible. This guide helps you to identify some of the numbers, signs and symbols used to promote extreme right wing beliefs including racism, extreme nationalism, fascism and neo nazism. 18: The first letter of the alphabet is A; the eighth letter of the alphabet is H. so, 1 plus 8, or 18, equals AH, an abbreviation for Adolf Hitler. Neo-Nazis use 18 in tat- toos and symbols. The number is also used by Combat 18, a violent British neo-Na- zi group that chose its name in honour of Adolf Hitler. 14: This numeral represents the phrase “14 words,” the number of words in an ex- pression that has become the slogan for the white supremacist movement. 28: The number stands for the name “Blood & Honour” because B is the 2nd letter of the alphabet and H is the 8th letter. Blood & Honour is an international neo-Nazi/ racist skinhead group started by British white supremacist and singer Ian Stuart. -
Loud Proud Passion and Politics in the English Defence League Makes Us Confront the Complexities of Anti-Islamist/Anti-Muslim Fervor
New Ethnographies ‘These voices of English nationalism make for difficult listening. The great strength of Hilary PILKINGTON Pilkington’s unflinching ethnography is her capacity to confound and challenge our political and preconceptions and makes us think harder. This is an important, difficult and brave book.’ Les Back, Professor of Sociology, Goldsmiths, University of London ‘Pilkington offers fresh and crucial insights into the politics of fear. Her unflinchingly honest depiction of the EDL breaks apart stereotypes of rightist activists as simply dupes, thugs, and racists and Loud proud PASSION AND POLITICS IN THE ENGLISH DEFENCE LEAGUE makes us confront the complexities of anti-Islamist/anti-Muslim fervor. This terrific, compelling book is a must-read for scholars and readers concerned about the global rise of populist movements on the right.’ Kathleen Blee, Distinguished Professor of Sociology, University of Pittsburgh Loud and proud uses interviews, informal conversations and extended observation at English Defence League events to critically reflect on the gap between the movement’s public image and activists’ own understandings of it. It details how activists construct the EDL and themselves as ‘not racist, not violent, just no longer silent’ through, among other things, the exclusion of Muslims as a possible object of racism on the grounds that they are a religiously not racially defined Loud group. In contrast, activists perceive themselves to be ‘second-class citizens’, disadvantaged and discriminated against by a two-tier justice system that privileges the rights of others. This failure to recognise themselves as a privileged white majority explains why ostensibly intimidating EDL street demonstrations marked by racist chanting and nationalistic flag waving are understood by activists as standing ‘loud and proud’; the only way of being heard in a political system governed by a politics of silencing. -
The Sounds of Hate: the White Power Music Scene in the United
The Sounds of Hate The White Power Music Scene in the United States in 2012 The recent tragic shooting spree at the Sikh temple in Oak Creek, Wisconsin, in which Wade Michael Page killed six people before killing himself after a shootout with police, has drawn attention to the shadowy world of white power music. Page, a committed white supremacist and member of the Hammerskins, a hardcore racist skinhead group, was heavily involved in the white power music scene in the United States. He played in a number of white power bands over the previous 12 years, most prominently the bands Definite Hate and End Apathy. Page was just one of hundreds of white supremacist musicians listened to by thousands of white supremacists in the United States and beyond. Today, white power music permeates the subculture of the white supremacist movement. Not all white supremacists enjoy white power music, but many of them do, especially neo-Nazis and racist skinheads. For listeners, white power music is not simply entertainment. It is music with a message, a medium used to express an ideology suffused with anger, hatred and violence. 1 WHITE POWER MUSIC IN THE UNITED STATES Today, white power music is well established in the United States, where it has existed for three decades. Hate music arose originally in Great Britain in the 1970s as the skinhead subculture that originated there diverged into two different streams: a traditional skinhead stream and a racist skinhead stream. As racist skinheads emerged, they created a white supremacist variation of the skinhead-related music genre called Oi! (sometimes also known by the Attendees at Plunder and Pillage 2011 deliberate euphemism “Rock against Communism” or RAC). -
The Long Evolution of Extreme Right Music in Italy and Germany
PA rtecipazione e CO nflitto * The Open Journal of Sociopolitical Studies http://siba-ese.unisalento.it/index.php/paco ISSN: 1972-7623 (print version) ISSN: 2035-6609 (electronic version) PACO, Issue 13(1) 2020: 207-231 DOI: 10.1285/i20356609v13i1p207 Published in March 15, 2020 Work licensed under a Creative Commons At- tribution-Non commercial-Share alike 3.0 Italian License RESEARCH ARTICLE THE LONG EVOLUTION OF EXTREME RIGHT MUSIC IN ITALY AND GERMANY Giorgia Bulli University of Florence ABSTRACT: The importance of music in extreme right political culture is acknowledged in recent academic and non-academic contributions in Italy and Germany. Patterns of music development in different Europe- an contexts reflect the prevailing ideological dimension of the role of this cultural expression in the ex- treme right context (Dyck 2016). Labels such as “White power music”, “Rechtsrock” and “Reichsrock” all point to various trajectories in the recruitment and socialization functions of extreme right music. In Italy, the concept of “rock identitario” designates the most successful form of music production by well-known bands directly linked to political movements. However, identitarian rock is only the arrival point of a long tradition of music development within the Italian Extreme Right. In Germany, recent investigations of the “Rechtsrock” phenomenon have highlighted the intense internationalization of networks of extreme right movements that mostly mobilize cultural manifestations of extreme right ideologies. The analysis com- prises a diachronic enquiry into the development of extreme right music in Germany and Italy. From a comparative perspective, the paper will highlight how – no different from other political languages – changes in music production both reflect and go along with the transformation of the Italian and German Extreme Right from an organizational, political culture and strategic perspective1. -
14 European Far-Right Music and Its Enemies Anton Shekhovtsov
14 European Far-Right Music and Its Enemies Anton Shekhovtsov I’m patriotic, I’m racialistic, My views are clear and so simplistic (English Rose, 2007b) In a self-conducted interview that appeared in his manifesto, Norwegian would-be right-wing terrorist and killer Anders Behring Breivik, under the pen name Andrew Berwick, argued that specifi c music helps sustain ‘high morale and motivation’ of ‘self-fi nanced and self-indoctrinated single in- dividual attack cells’ (2011, p. 856). He went on to list several ‘motiva- tional music tracks’ he particularly liked. Breivik described one of these tracks, ‘Lux Æterna’, by Clint Mansell, which was featured in the trailer for Peter Jackson’s The Lord of the Rings : The Two Towers , as ‘very inspir- ing’ and as invoking ‘a type of passionate rage within you’ (2011, p. 858). On 22 July 2011, ‘Lux Æterna’ supposedly played in his iPod while he was killing members of the Workers’ Youth League of the Norwegian Labour Party on the island of Utøya (Gysin, Sears and Greenhill, 2011). Another artist favoured by Breivik in his manifesto is Saga, ‘a courageous, Swedish, female nationalist-oriented musician who creates pop-music with patriotic texts’ (2011, p. 856). Saga soared to the heights of right-wing fame in 2000, when she released three volumes of My Tribute to Skrewdriver on the Swedish right-wing label Midgård Records (2000a). Her three-volume album featured cover versions of Skrewdriver, a model White Power band, whose late leader, Ian Stuart Donaldson, founded the Blood & Honour (B&H) music promotion network in 1987. -
Monitoring Offensive and Discriminatory Signs in European Football
www.farenet.org Monitoring offensive and discriminatory signs in European football www.farenet.org 1 www.farenet.org Introduction Contents Football should be a game that can be enjoyed by everyone, without the fear of abuse and discrimination. Unfortunately at many matches and stadiums across Europe, this is not always the case and fans and players can face abuse because of the colour of their skin or their religion, or can feel victimised because they are gay or have a disability. The FARE Network is working with photographs of banners in football 4 Commonly displayed far right partners across the game, including stadiums. As well as signs and signs and symbols European football’s governing symbols common across the whole body, UEFA and NGO’s such as the of Europe, there are is also specific 13 Letter and number codes Never Again Association to try to sections that relate to different make the game a welcoming and European countries. 15 Clothing brands and prints safe environment for all football fans and to ensure that the use of It is hoped that this guide will help 17 Country specific symbols racist and homophobic language encourage everyone involved with and the displaying of offensive the game to make a stand against 22 Other racist flags and images banners is eradicated from all racism and discrimination and to football stadiums. help make football a welcoming 23 Other areas of discrimination and safe environment for fans and The aim of this booklet is to help players across the whole of Europe. football fans identify racist, neo- Nazi, homophobic and abusive images towards disabled people, in an easy to carry pocket size guide. -
Angry Aryans Bound for Glory in a Racial Holy War: Productions of White Identity in Contemporary Hatecore Lyrics
Angry Aryans Bound for Glory in a Racial Holy War: Productions of White Identity in Contemporary Hatecore Lyrics Thesis Presented in Partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Roberto Fernandez Morales, B.A. Graduate Program in Sociology The Ohio State University 2017 Thesis Committee: Vincent Roscigno, Advisor Hollie Nyseth Brehm Eric Schoon Copyright by Roberto Fernandez Morales 2017 Abstract The Southern Poverty Law Center reports that, over the last 20 years, there has been a steady rise in hate groups. These groups range from alternative right, Neo Confederates, White Supremacist to Odinist prison gangs and anti-Muslim groups. These White Power groups have a particular race-based ideology that can be understood relative to their music—a tool that provides central recruitment and cohesive mechanisms. White supremacist rock, called Hatecore, presents the contemporary version of the legacy of racist music such as Oi! and Rock Against Communism. Through the years, this genre produces an idealized model of white supremacist, while also speaking out against the perceived threats, goals, and attitudes within white supremacist spaces. In this thesis, I use content analysis techniques to attempt to answer two main questions. The first is: What is the ideal type of white supremacist that is explicitly produced in Hatecore music? Secondly, what are the concerns of these bands as they try to frame these within white supremacist spaces? Results show that white supremacist men are lauded as violent and racist, while women must be servile to them. Finally, white supremacist concerns are similar to previous research, but highlight growing hatred toward Islam and Asians. -
Overview of the Far Right
Overview of the Far-Right Dr Benjamin Lee Centre for Research and Evidence on Security Threats (CREST) Lancaster University, UK This work was funded by the Centre for Research and Evidence on Security Threats (CREST). CREST is commissioned by the Economic and Social Research Council (ESRC Award: ES/N009614/1) with funding from the UK Intelligence Community. 1 Introduction This paper considers the ‘far-right’, an overarching term that includes a range of ideologies encompassing both the radical right (democratic) and extreme right (anti- democratic) (Ravndal & Bjørgo 2018). The defining characteristic of the far-right for this paper is: A narrative of racial and/or cultural threat to a ‘native’ group arising from perceived alien groups within a society. This is considered a working definition intended to bound this paper only, this should not be treated as comprehensive.1 This paper focuses on the far-right in the United Kingdom. However, far-right activism is transnational, and so it has not been possible to limit this research exclusively to the UK, nor can the UK far-right be considered in isolation from the wider far-right (Zúquete 2015). The far-right is not composed only of discrete and easily identifiable groups. While various organisations are components of the far-right, including gangs, protest movements, pressure groups, and political parties, the far-right as a whole is amorphous. Its messiness is inherent, stemming from a diverse range of ideologies and narratives enacted over a wide range of geographic contexts by multiple actors. Adding to this, digital technology has allowed an already complex patchwork of groups, influencers and activists to diffuse further through multiple and sometimes overlapping presences on an array of digital platforms. -
The Memory of Rudolf Hess in Skinhead Culture Ryan Shaffer
ISSN: 2196-8136 Special Issue: Music and Radicalism Ausgabe: 3/2014 From Outcast to Martyr: The Memory of Rudolf Hess in Skinhead Culture Ryan Shaffer 1 Abstract: This article explores neo-Nazi skinhead culture by reviewing how the memory of Rudolf Hess is employed by extremists as a transnational icon. It highlights how Hess, an outcast in the Nazi party and imprisoned by the British, became a “martyr” to post-war fascists in Britain and Germany. This article reviews skinhead music, video and rare literature to show how diverse skinhead groups in many different countries emulated skinhead leaders in resurrecting Hess’ memory and propagating conspiracy. In offering a rare glimpse into skinhead culture, it draws from magazines that were illegally produced and circulated in Europe, which violate race relations laws, deny the Holocaust or contain fascist images or symbols that are banned. The illegal and clandestine nature of the fascist songs and literature reinforced the power of icons like Hess, which in turn fostered a special bond between skinheads in other countries. 1 Ryan Shaffer is currently a postdoctoral fellow at the Institute for Global Studies at Stony Brook University in New York. Ryan Shaffer: From Outcast to Martyr: The Memory of Rudolf Hess in Skinhead Culture 111 ISSN: 2196-8136 Special Issue: Music and Radicalism Ausgabe: 3/2014 Skinhead music developed connections between young extremists throughout Europe in the 1980s and 1990s. 2 The music gave youth a common language to develop transnational icons and build friendships between movements in other countries. No longer isolated in their countries, youth found support beyond their own borders, which reinforced their beliefs and saw the establishment of international concerts where bands drew “nationalists” from neighbouring countries. -
The Far Right, Punk and British Youth Culture
White youth: the Far Right, Punk and British youth culture Article Published Version Creative Commons: Attribution-Noncommercial-No Derivative Works 3.0 Open Access Worley, M. and Copsey, N. (2016) White youth: the Far Right, Punk and British youth culture. JOMEC Journal, 9. pp. 27-47. ISSN 2049-2340 doi: https://doi.org/10.18573/j.2016.10041 Available at http://centaur.reading.ac.uk/57694/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.cardiff.ac.uk/jomec/research/journalsandpublications/jomecjournal/callforpapers/index.html Identification Number/DOI: https://doi.org/10.18573/j.2016.10041 <https://doi.org/10.18573/j.2016.10041> Publisher: Cardiff University: Cardiff School of Journalism, Media and Cultural Studies All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online JOMEC Journal Journalism, Media and Cultural Studies Published by Cardiff University Press White Youth: The Far Right, Punk and British Youth Culture, 1977–87 Matthew Worley and Nigel Copsey Teesside University (Nigel Copsey) Email: [email protected] University of Reading (Matthew Worley) Email: [email protected] Keywords Punk Fascism Youth Culture Britain Abstract ‘White Youth’ recovers and explains the relationship between far-right organisations and British youth culture in the period between 1977 and 1987. -
Racists on the Rampage
law SKINHEADenforcement specialS I reportN AMERICA RACISTS ON THE RAMPAGE INCLUDES: Racist Skinhead Movement History • Timeline • Glossary • Portraits • Symbols • Recent Developments SKINHEADA Publication of the SouthernS IN PovertyAMERICA Law Center RACISTS ON THE RAMPAGE Racist Skinhead Movement History • Timeline • Glossary Portraits • Symbols • Recent Developments a publication of the southern poverty law center KEVIN SCANLON SKINHEADS IN AMERICA Racist skinheads are one of the potentially most dangerous radical-right threats facing law enforcement today. The products of a frequently violent and criminal subculture, these men and women, typically imbued with neo-Nazi beliefs about Jews, blacks, ho- mosexuals and others, are also notoriously difficult to track. Organized into small, mo- bile “crews” or acting individually, skinheads tend to move around frequently and often without warning, even as they network and organize across regions. For law enforcement, this poses a particular problem — responding to crimes and even conspiracies crossing multiple jurisdictions. As these extremists extend their reach across the country, it is vital that law enforcement officers who deal with them become familiar with the activities of skinheads nationwide. What follows is a general essay on the history and nature of the skinhead movement, pre- pared with the needs of law enforcement officers in mind. After that, we reprint recent reports on the contemporary skinhead movement in America, including an overview of the latest developments, portraits of 10 particularly frightening leaders, and a gallery of insignias and tattoos commonly used by racist skinheads. This booklet was prepared by the staff of the Southern Poverty Law Center’s Intelligence Project, which tracks the American radical right and also publishes the investigative magazine Intelligence Report.