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201006 American Renaissance

201006 American Renaissance

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American Renaissance, June 2010. Black Metal Ethno-nationalism; Genes or Environment; A Window on the Soul of Flanders; The Galton Report; O Tempora, O Mores!; Letters
American Renaissance, June 2010. Black Metal Ethno-nationalism; Genes or Environment; A Window on the Soul of Flanders; The Galton Report; O Tempora, O Mores!; Letters

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Published by: American Renaissance on Dec 15, 2010
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American Renaissance - 1 - June 2010
Black Metal Ethno-nationalism
Vol. 21 No. 6
There is not a truth existing which I fear or would wish unknown to the whole world.
Thomas Jefferson
June 2010
American Renaissance
Waging culture war.

M
TV cannot be counted amongthe champions of Europeancivilization. In fact, its in-stincts are so far to the left, that an ac-curate expression of its red shift valueswould require complex mathematics.Fortunately, and as Eric Owens pointedout in his November 2000 article for
 American Renaissance
, “The New Na-tionalist Music,” not all modern popularmusic comes from the left of Trotsky.Mr. Owens’ article provided a usefuloverview of the various nationalist mu-sic scenes that emerged since the 1970s,each offering an alternative subculturefor young generations disillusioned bythe mainstream.Much has happened since 2000,however, and at least some of the musicscenes surveyed by Mr. Owens haveseen considerable growth and gone on tospawn new scenes. It is worth re-visitingMr. Owens’ topic, and shedding somelight on what has driven the growthof nationalistic music during the pastdecade.Although Mr. Owens discussedseveral genres (Oi!, Apocalyptic Folk,
 Nationale révolutionaire
, and BlackMetal), I will focus only on Black Metal.This is my area of expertise and, most

have achieved commercial successand even collected industry awards.Commercial success poses a number of interesting questions regarding BlackMetal’s potential gradually to legitimizeits more radically anti-system ideals,despite efforts to censor it from withoutor white-wash it from within.Before we examine Black Metal, we

-toric events in and outside of the scenefrom a racial point of view. To my mind,they are the fall of Communism in East-ern Europe and its rise in the West, theappearance of more explicitly politicalor nationalist offshoots of Black Metal,and the increasing visibility and accep-tance within the mainstream of bandswith links to Black Metal.
Origins and Offshoots
Black Metal originated as an offshootof Heavy Metal, and is so called becauseof the occult and satanic imagery and

Although it retained the basic elementsof guitars, bass, drums, and vocals,from its beginnings, its sound was moreextreme, its lyrics more esoteric, and itstone more serious. Black Metal artists

-scure for us to speak of a scene proper,and its fans were part of a wider HeavyMetal/Thrash Metal subculture.It was not until the early- to mid-1990s, with the rise of a radical circle of Black Metal musicians in Scandinavia,especially in Norway, that Black Metaldeveloped into a full-blown scene. Itwould probably have remained obscure
Continued on page 3
Mainstream popular cul-ture is a desert for Euro-pean-descended peoples.
Anti-Christian symbolism in an album cover of the Faroe Islands Viking Metal band, Tyr.
 
American Renaissance - 2 - June 2010
 Letters from Readers
Sir — It is disappointing that “Hip-pocrates” of your resurrected GaltonReport in the May issue did not ana-lyze Prof. Lynn’s Italian study morecritically. First, Prof. Lynn’s geographicdivisions are questionable. Tuscany,which is widely considered to be the areathat has produced the largest number of Italian geniuses, is more properly con-sidered central than northern Italy. Next,in his study, Prof. Lynn used academictest scores of 15-year-olds as a proxy forIQ scores, and the two types of test arenot exactly comparable.Further, even if his data were reliable,Prof. Lynn’s conclusions are doubtful.

percent of Italian immigrants duringthe turn-of-the-century “great wave”originated from southern Italy. How-ever, multiple indices of educational/ professional attainment show that Ital-ian-Americans compare well with otherwhite Americans. “Selective migration”is unlikely to explain this completely orat all, since early measurements of Ital-ian migrant IQs were also low, roughlycomparable to Prof. Lynn’s modernestimates.Prof. Lynn asserts that southern ItalianIQs are only slightly higher than thoseof American blacks, and yet southernItalians in America routinely performat a level comparable to other whites.Admixture with other white Americanscannot explain this high achievementeither, as the low IQ estimates of Prof.Lynn should result in a relative depres-sion of IQ scores of part-Italian hybrids,who would still be expected to performless well than other white Americans. Inote as well that southern Italy/Sicilywere Greek colonies during that nation’smajor contributions to the Classical Cul-ture, and that genetic contribution to thepopulation cannot be ignored.In addition, Prof. Lynn’s commentson the “admixture” of North Africangenes in southern Italians are based onoutdated studies. For example, more

suggest that Tuscans from northern Italyare likely to be genetically closer toMiddle Easterners than Sardinians are.Data published on the plosone.orgwebsite by a team led by David LópezHerráez has found that the total of “non-European genetic structure” inSardinians is not higher than in Tuscansor in north Italians from Bergamo. Otherdata, published at racialreality.110mb.com, suggests that the high-achievingTuscans seem particularly enrichedin “Middle/Near Eastern” ancestry,although most of that is probably of ancient rather than of modern origins.There is no current evidence thatsouthern Italians have a high degree of “Middle Eastern/north African” ances-

levels Prof. Lynn claims.It is true that compared to southeast-ern Europeans and southern Italians,peoples of northern and central Europeare more derived from Paleolithic peo-ples, who emerged from the Near Easttens of thousands of years earlier thanthe Neolithic peoples. Southern Euro-pean ancestry is enriched with a greaterNeolithic contribution of ancient, butmore recent, Near Eastern origin. Prof.Lynn could argue that the longer sojournin the harsher European climate mayhave increased Paleolithic European IQmore than their Neolithic counterparts.However, even southern Europeans arepart Paleolithic, and it is unlikely thatthe resulting IQ differences are as greatas Prof. Lynn’s estimates.More to the point, when Prof. Lynnrefers to Near Eastern/north Africanadmixture in southern Italians, he isconfusing this Neolithic ancestry—agriculturalists who emerged from theNear East thousands of years before thestart of recorded history to introducefarming to Europe—with such modern,historical Near Eastern/north Africanpeoples as Phoenicians or Arabs, whoappeared thousands of years after theNeolithic peoples but still shared certainancient gene markers.Dr. Lynn has made many vital con-tributions in the area of IQ research. Hisstudies of the global distribution of IQand, with Tatu Vanhanen, the correla-tion between IQ and national wealth,are masterworks. However, the differ-ences in IQ he has found in differentpeoples—Africans, for example—are

the American context. If there is no suchcorrespondence in the case of “whiteethnics,” his data and conclusions mayrequire a second look. Italian-Americanachievement in the US coupled withrecent population genetics studies thatthrow light on questions of admixturesuggest that Prof. Lynn’s hypothesis isnot correct, and that he has not answeredthe
questione meridionale
.Harold Stowe, Portland, MaineSir — As an Italian-American of southern Italian and Sicilian ancestry, Iwas disturbed by the photographs youchose for your article about RichardLynn’s study of Italian IQs. I have manyphotographs taken by family memberson their numerous trips to Sicily andsouthern Italy. The landscape and townslook nothing like the slum photo youchose to represent Sicily!What you did was disingenuous,akin to traveling to Philadelphia andonly photographing the crime-ridden,burned-out black ghettoes of NorthPhiladelphia, while ignoring the opu-lent, up-scale white neighborhoods of the far Northwest part of the city.I certainly hope AR is not prejudicedagainst southern Europeans, especiallySicilians and southern Italians. What-ever some “Nordicists” may think, weare white people, too, often with a loy-alty to our people and race not usuallyfound in Europeans.Carmela Cacia, Philadelphia, Pa.
 
American Renaissance - 3 - June 2010and would not have grown as rapidly as

achieved by a small number of BlackMetal artists, who, between 1992 and1993, chose a scandalous route tonotoriety: church arson. This was obvi-ously calculated to shock and terrorize,and in the resulting wave of publicitythe perpetrators explained their actswithin the framework of a neo-pagan,anti-Christian ideology. This not onlypoliticized their crimes, but showedthem to be a rejection by proxy of theegalitarian, liberal, universalist valuesof modern society that the perpetratorsassociated with Christianity.Only a few musicians were involved,and all but one received short sentences,so this did not drastically affect thescene: it only delayed a few albumsby a year or two. But it did mark theouter boundaries of the political think-ing of some Black Metal artists. In likemanner, some showed an interest—

lasting—in what they considered thediametric opposite of the current age:National Socialism.Black Metal artists of the 1990s in-herited the link between their music andnationalist ideology—of which NationalSocialism is the most notorious byprod-uct—from the later albums of one of 

Bathory. Founded by Tomas Forsberg in

used obvious satanic imagery andlyrics. In the subsequent three al-bums, however, Forsberg, who died

sophisticated musical and lyrical ap-proach, inspired by classical musicand Romantic art, and drawing onScandinavian mythology.At the same time, Mr. Fosberg de-veloped a neo-
völkisch
, Nietzscheanideology that rejected Christianity asa foreign, destructive cultural force,and called for a return to Europeanpagan roots. (The German word
völkisch
blends notions of race andpeople with a romantic conception of folklore and the organic; it has no exactequivalent in English.) A Celtic cross, or

 Hammerheart 
, and the next,
Twilight of the Gods
, was partly inspired byNietzschean critiques of modernity andrejection of Christianity. Mr. Forsbergonce noted that Sweden had had 2,000years of paganism and only 970 yearsof Christianity. He described himself as

noting that they represented values

Even more controversially,
Twilight of the Gods
contained what some in-terpreted as oblique references to theWaffen SS. Later, the Black Metal of the 1990s made this ideology moreradical and explicit, eventually givingrise, as we shall see, to a sub-genreknown as National Socialist Black Metal(NSBM).

Black Metal inspired two notable and of-ten interlinked sub-genres: Viking Metaland Folk Metal. The Viking Metal soundof Scandinavia is characterized by bom-bastic synthesizers, epic chanting, andWagnerian melody. It can be likened tolate Romantic classical music played on

The imagery of Viking Metal bands re-volves around Norse mythology, Norsepaganism, and the Viking age. Bandslike Enslaved, Einherjer (Norway),Falkenbach (Germany), and Tyr (FaroeIslands) are typical examples.Folk Metal had its origins in the Brit-ish Thrash Metal band Skyclad, whosealbum,
The Wayward Sons of Mother Earth
(1990), is considered the earli-est example. The idea of incorporatingtraditional folk instruments and themesinto an extreme metal framework wasthen taken up by bands like Storm(Norway), Cruachan (Ireland), Amor-phis (Finland), Moonspell (Portugal),and Orphaned Land (Israel), but it didnot truly come of age until the 2000s,with Finnish bands like Finntroll andMoonsorrow. Folk Metal naturally led to

Scandinavia, Russia, Ireland, Germany,and the Baltic states. There is even aFolk Metal scene in the United States,with the band Agalloch as a well-knownexponent.
Continued from page 1
 
American Renaissance is published monthly by theNew Century Foundation. NCF is governed by section501 (c) (3) of the Internal Revenue Code; contributionsto it are tax deductible.

outside Canada and the U.S. (air mail) are $40.00. Back issues are $4.00 each. Foreignsubscribers should send U.S. dollars or equivalent in convertible bank notes.Please make checks payable to: American Renaissance, P.O. Box 527, Oakton, VA

Web Page Address: www.AmRen.com
American Renaissance
Jared Taylor, EditorStephen Webster, Assistant EditorRonald N. Neff, Web Site Editor
Tomas Forsberg, founder of the Swedish band

völkisch
 music scene.

imagery.

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