The Growth of White Power Music

American Dissident Voices Broadcast of March 4, 2006

Hello, welcome to American Dissident Voices, I'm your host, Shaun
Walker.

Resistance Records just released the first new music CD in 2006.
This CD is titled Noontide and the band is Fanisk. This is one of
many music projects under way with Resistance Records. We have
another CD that will be released in a few weeks, which has been
under construction for several years. It is a live CD, recorded
almost five years ago. But, this CD has been re-mastered and
cleaned-up to such a high quality that this will be, without a
doubt, the best "live" White Power CD ever released.

For those people that keep up on the pro-White music scene, there
are one or two CDs released every month around the world. Some
months, there might be five new CDs. This is of course small when
compared to the huge Jew- owned music industry. The volume of CDs
that the Jewish Geffen Records produces is, by itself, more per
year than the entire White Power music scene, but the steady
growth and widespread interest is such, that everything is
looking better and better for White people.

Before I go into explaining why things are looking so good for
the White Power music scene, I would like to explain the history
of White Power music.

Now, there has always been music with a pro-White theme. America
was perhaps the most racist country to ever exist and this is why
we are such a powerful country today. In America in the 1800s,
racist songs were quite popular and mainstream. Most Americans
have heard songs such as "Oh Susanna." The chorus to this song
goes "Oh Susanna, don't you cry for me, I came from Alabama with
a banjo on my knee." This song is well known by most older
Americans, but very few have heard the beginning of verse two of
"Oh Susanna," which begins: "I killed 500 Niggers and I'll kill
500 more…" By today's Politically Correct standards, this would
be called "hate music," but in fact it is really one of the most
well known American Folk songs.

During America's sharp decline in the 1960s, there were a few
bands that tried to compose some patriotic and pro-White music. I
heard a few of these songs and they are really just god awful.
The only pro-White music of any quality to come out of the 1960s
and early 1970s, was with some American Country music, which has
been lumped together to be called "Johnny Rebel." There were many
different musicians touring the Southern honky tonks, playing
these Johnny Rebel songs. There was one rather famous country
singer that is rumored to have written most of the really popular
of these songs, such as "Coon Town" and "Move those Niggers
North," but if true, he wants to keep his identity private. There
was even George Lincoln Rockwell who made an attempt at pro-White
music with the band "Otis and the Three Bigots." Otis and his
Bigots meant well, but the music was bad.

There were no mainstream record labels that would touch these
songs, so they had no ability to become heard, let along rise in
popularity. There was one famous Country music singer named David
Allen Coe who used the word "Nigger" openly in a song in the
1970s. This song can still be heard in maybe 1,000 jukeboxes
currently across America in small bars and restaurants. This song
is "If that ain't Country." David Allen Coe also wrote another
song that his mainstream record label refused to release. The
name of this song says it all: "White Girl and a Nigger." Mr. Coe
was very strongly against interracial mixing and that particular
song summed up the way that the vast majority of White people
also felt about race-mixing. But again, the Jews controlled the
media back then, so this socio-political expression was
suppressed and only a scattered few copies were distributed here
and there.

In the late 1970s in England, a rising Punk Rock band named
Skrewdriver would go on to change the world.

Now just last night, on the Discovery Times channel, a one-hour
documentary was aired about the White Power music scene. This
documentary covered the White Power music all over the world and
they came here to our National Office in good ole "West Virginy"
to discuss Resistance Records. Resistance is the largest White
Power music label in the world, so these British reporters wanted
to interview us. Erich Gliebe, the President of Resistance
Records, was interviewed along with his wife Erika, for several
minutes of this show. I was on the show briefly, but wasn't
interviewed about the music per se, but about the political
implications of the music. They really didn't use any of my
interview, but that's fine. The pro-White musicians that were
interviewed did a very good job. Sean from Max Resist is getting
better and better at media interviews and the Swedish beauty,
Saga, just having her in front of the camera helps our Cause.
But, she also is quite good at interviews. She comes across as
the girl-next-door, who also understands the dynamics of racial
conflict. Overall, this documentary is quite helpful.

So, how did a go-nowhere music idea grow to this current level?

The band Skrewdriver started out trying to make it big in the
mainstream music business. They never made it big, but they were
getting close. They did do some opening acts for some big-named
bands, such as Motorhead and The Clash. They probably would have
gone far with the mainstream music industry, but Ian Stuart, the
singer, was a true White Nationalist.

After flirting with pro-White music a little, which the British
National Front was promoting at the time, under the name of
"Rock-Against-Communism," Skrewdriver finally cut a record deal
and released their debut racial-album which was openly and
unapologetically pro-White, titled, "Hail the New Dawn" in 1982.
This album pretty much guaranteed Skrewdriver would never get a
chance to go mainstream and remain as struggling musicians. The
record label that released this was surprisingly in West Germany,
called Rock-O-Rama. The label wasn't really pro-White, but they
had no problem with pro-White music and they became the standard
bearer for all the White Power music. They didn't have a monopoly
on White Power music, but almost all the attempts at starting a
new record label, in many different countries, just fizzled out.

This pro-White music though was very difficult to get a hold of
back then. Myself, I first heard about White Power music back in
1983. A friend of mine, John, who was just as racial as me, was
really into British Heavy Metal, and he knew a bit about this new
British racial music. But, from 1983 until 1988, I had never
heard any of it. When I finally heard some White Power music, it
was a poor quality recording of a recording of another recording.
There was just no way to get a hold of this stuff. In 1989, I
bought my first White Power cassette, from Joe Grego, who headed
the Oklahoma White Man's Association. The cassette was "Boot
Party 88" by the band, "The Midtown Bootboys." The cassette
itself was recorded in a studio and sounded clear, but it was
just a plan, black cassette. I placed masking tape on each side
of the tape to write the titles of the songs. It wasn't until
1992 that I had my first opportunity to buy an actual record of
Skrewdriver. I had only seen one other actual record at that
time. The one I seen was purchased in a music store in a bad part
of downtown Los Angeles for $100. I couldn't afford such a
record. But, I finally got a hold of two Skrewdriver records, for
only $25 apiece. Those records were pressed in Canada. It wasn't
illegal in Canada back then.

I was amazed. I had never heard the lyrics so clearly. I had many
friends that would visit and listen to an actual Skrewdriver
record. Almost all of them said the exact same thing: "Oh, that's
what he's saying. My copy of this song is a really bad recording
and I thought the words in the song were different." 

Then in 1993, the very first White Power CD was pressed in
America. It was White Terror, Volume One. There never was a
volume two. This CD was actually pressed by a Chinaman in Los
Angeles. He didn't care about the racial lyrics, as money was
money to him. There were only 1,000 copies for the first batch
and there were two bad recording errors on the CD and a few small
errors, but we didn't care. We knew a new dawn of our own had
started. And it has been growing ever since.

Around that time, in September 1993, tragedy stuck and Ian Stuart
died in a car crash. He is now universally recognized as the
founder of White Power music. A few months after that, in
December 1993 a pro-White Canadian record label was launched,
called Resistance Records. It was incorporated in America in
January 1994. About that time, Germany was finally waking up. The
wall came down in 1989, the cold war ended. Germany was whole
again and the Nationalism in Germany in the early 1990s was on a
magnificent scale. White Power music became a big part for the
German youth. There were German bands that sang openly racial
songs and had a mainstream following, such as "Storkraft." The
infusion of pro-White politics into music became so widespread in
Germany back then, that up to this day, German bands are labeled
by Germans as right-wing or left-wing. The German band Rammstein
is very popular in Germany and America, and although they do not
sing any racial songs, leftist Germans will not listen to it, as
it is a "right-wing" band. Another band, Bohse Onkels, also
enjoys this notoriety, but never became popular in America.

Back in the early 1990s, the German music scene was becoming
split. The best quality bands were being offered record deals
with mainstream labels, but they had to denounce the skinheads
that fire-bombed the non-White asylum centers. This became such a
huge thing, that to this day, every German knows about the German
Nationalists fire-bombing the asylum centers.

"Germany for the Germans, Foreigners Out!" became their chants.
The youth of this explosive movement held concerts numbering as
many at 10,000 people, all of whom were White of course.

The US State Department began to pressure the German government
of Helmut Kohl, who was sort of regarded as a right-winger by
many Germans. But, Kohl buckled to the Zionist pressure.
Rock-O-Rama Records was raided by the German police around 1994.
What that did was it caused a bottleneck for this sought after
product, but this product's time had come of age. This was at
such a time, when the newly emerging White Power youth in America
were growing up and learning how to do things themselves.

What happened was, all over the White world, small new record
labels started to pop-up. All the music was going the way of
compact disc. There were still a few labels that pressed vinyl
records and cassettes were fairly common. In fact, the fist
full-length album Resistance Records produced was at first only
offered in cassette format.

I remembered how happy and shocked I was back in 1994 when I got
my first copy. The cover art to the cassette case was in color.
Up to that point, I had never seen color printing on anything
pro-White. There were two magazines that were using mono-chrome
color for their covers. Those magazines were Instauration and
National Vanguard. Instauration unfortunately went out of
business in the mid-1990s. National Vanguard was re-launched in
2002 in full-color glossy and is going strong and growing nicely
now. This was a major improvement in our pro-White media.

Back in 1994 another first happened, when Resistance Records
released their first issue of Resistance magazine. Issue #1 had a
color cover. I was happily amazed. I thought to myself: "How
could these young White Nationalists produce something so beyond
all the older, established racial publications?" When issue #2
was released, the cover was of the highest print-quality of any
mainstream publication. The print-resolution was fantastic. We
were growing up.

At the same time, the suppression of freedom only continued and
continues to expand. As a Canadian citizen, I am so shocked at
how disgraceful the Canadian government has become. But, this
isn't new. In the mid-1990s, Resistance Records was raided. The
Canadian government urged the American police to also raid
Resistance USA. This basically shut down Resistance Records for a
while. There were several attempts with new management for about
three years. During that time, many small music labels popped up
in virtually every White nation on the planet. Today, most White
nations have several pro-White music labels and the interest just
continues to grow.

In 1999, Dr. William Pierce decided the time was right for the
National Alliance to become involved in pro-White music and youth
outreach. To keep up on the White Power music, we carry any and
all pro-White CDs available. We do not worry about their various
political affiliations with this group or that group. The world
will always have personality squabbles, and we need to avoid
them.

Today, we carry about 900 different music CDs. The actual number
that have been pressed around the world is more than this, but
many of the smaller labels simply went out of business and those
CD are now is limbo. But, Resistance Records does have the
largest volume on the planet.

Also, Resistance magazine is leading the way for the pro-White
music and youth. This month, February 2006, I'm happy to say,
marks the beginning of another improvement. This issue of
Resistance, issue 25, was finally printed entirely in color. So
in America, this is now the only, full-color glossy pro-White
music and youth magazine: Resistance. There are several other
similar magazines printed in other White courtiers. There seems
to be an on-again-off-again magazine or two published in Great
Britain. In Sweden, the Nordic Alliance publishes "Nordic
Freedom." This is an excellent magazine for those that read
Swedish.

Resistance is unique in another way in that we have a sister
publication in Greece. The Greek word for Greece is "Hellas," and
the Patriotic Alliance, which is the leading pro-White group in
Greece, publishes Resistance Hellas, which is also an outstanding
publication for Greek reading people.

The Patriotic Alliance and the Nordic Alliance also produce
pro-White music and promote concerts in their countries. There's
really nothing more fun than attending these pro-White
gatherings. The biggest one I went to was a concert in Germany
about 3 years ago. There were about 4,000 people there. It was
about 90% German, but of the remainder, were White people from
around the world. A new age of pan-racial unity with Whites is
now emerging.

There are places like Canada which have virtually outlawed
anything pro-White, but this doesn't even slow the growth of this
emerging music scene.

To give you an example of how far along the pro-White music scene
is, let me tell you about a shop in Salt Lake City, Utah. This
store, called "Blue Whale CDs" is not a pro-White music store.
They carry lots of Negro rap music and interracial garbage, but
they also have a huge section of used CDs.

Now, back in the 1980s, I couldn't even find White Power records.
They were almost an urban legend. In the 1990s, when I wanted to
buy White Power music, I had to pay $25 just for the cost of an
international money order and send this to Germany or Denmark and
wait 2-4 months to get our pro-White music. During that time, the
Jews went crazy and pressured a few corrupt politicians into
suppressing this music and it backfired. It was as if the Jews
threw a ceramic Aryan statue on the floor and it shattered. Out
of the little shattered pieces, a thousand little Aryans popped
up, ran for cover, and started again, but all over the world this
time. And, like Rockwell said: "This Time the World."

But, I'm digressing; back to my story about Blue Whale CD in Salt
Lake City. In 2003 I was talking to two employees that worked for
this music store. The store is not pro-White, only pro-music.
And, for the last year, they had always had a few or many used
White Power CDs for sale in their used CD section. The entire
music scene on the planet is now becoming exposed to White Power
music. And, when you think about it, after a couple million of
these pro-White CDs are pressed and circulate around the planet,
this is unavoidable.

So, I'm happy. I'm happy my race is stepping forward. I'm happy
that so many young White people are singing songs that praise the
White race. I'm happy that my phone has been ringing off the hook
today, from other happy White people that watched the documentary
on the Discovery Times channel last night. Today is a good time
to be White.

For those of you that are interested in this music, there are
lots to choose from. It is offered in just about every spoken
White language. There are many different music styles and this
will only increase even more over time. Check out the latest
issue of Resistance magazine. This issue's cover girl is Erika
Gliebe. This again is a step forward. For too long, our fellow
White Nationalists have sold publications that have images of
Whites being attacked by non-Whites or other very depressing
images. Those publications fail to attract White people from the
mainstream. This issue of Resistance is very attractive and
cutting edge. There are many interviews and many interesting
articles. Also, some of the newest CDs are featured in this
issue, but you can go to our Web site and look at all the CDs,
clothes, books, home apparel, etc. The Web site is
"resistance.com" Again that is www.resistance.com. The White
Power music continues to grow and resist the political power of
the Jews.

Join with us, join with the resistance, join the National
Alliance.

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