2 Tips About Kiloyear From Industry Experts

1. Another bullet in the cake? No, this time I consume the cake. I finally saw "Hate Rock" the long awaited-- in fact 23 hours download-- documentary about us. The discussion of the documentary seems much more difficult than what the video states in reality. Prior to seeing this video I requested impressions to people who saw it on the cable television in the United States and all their comments have actually been very negative. I was caught days ago while answering to some questions on the phone. I classified this documentary as antifascist propaganda, since this is what it appears reading the intro on the sites (SMG productions and Discovery Times) and this is how people described the show to me. I need to say instead, after viewing the work, that it is a "documentary" and not the ultimate program about the "absolute evil". If I ever missed out on anything or did not comprehend anything or if you simply want to post a remark (consisting of the anticipated "go to hell"), you can send out a message to my online forum (you do not require to register) or to my e-mail address: viking@ashtree.org Contents Length limitation (about 1 hour) and lack of time make likewise the best of the videos a minimal work. You must have asked yourselves: what to consist of and what to exclude? How to define the whole documentary? So, this is the section in which I will list (I will exceed!) your "made 30s, why not 31?", all excellent suggestions for somebody who'll attempt to write a book-- perhaps-- about hate rock in future, and I guess a lot of the things I will make a note of here were perhaps consciously left out, not simply forgotten. I have seen you pointed your attention to our basically severe faces, the "user interface", so how music is spread, how concerts are arranged, what different images we utilize, the persecution we get and so on ... it's a very good video, however I think sometimes it is too "aesthetic", it often proposes some songs with "effect" lyrics however does not enter their deep meaning, imaging people outside already know about our beliefs (only in Detroit rather you recorded a bargain of explanations about some elements of white power music or when you discussed the 14 words) and often it gets away excessive towards descriptions of political organizations forgetting it is a documentary about music and it confines the "white power" motion into the racist thing excessive. Question number one: what is a racist? And on a higher level: what is a nationalist? It would have been fascinating to know how a tune is born, in what scenario. From the documentary we appear to want ethnic cleaning mostly or only and above all ... and you sent my song "Don't go round with the Jews", for example (I'll take myself as example, because I understand myself), which is not a tune about that topic, however about the problem of social integration. You chose from my interview my statement "I state I'm not a nazi, I'm a fascist, I need to protect my italian history" ... I must comment, with or without that sentence my position does not alter: I'm a so-called "white power" songwriter anyway, so the declaration-- extracted from a long discussion-- is redundant in this context. You talked a lot about persecution versus our music, absolutely every day life. I believe you fully described what happens to our bands and organizers. Shawn made extremely clear arguments about it and Erich of Resistance added that music sales help the activities, however what's check here missing out on between these parts? It's quite clear that people like the Big Jews or the Communists maltreat us (Death to ZOG! Individuals shouted.), but no one plainly revealed some viewpoints about the reasons. Hegemony for example? What does it indicate? What could the interests be? (I'm aware it's impossible to talk mostly about it in such a video without falling out of the circle of the topic, however perhaps a little concept could be offered). I believe the most crucial reason is implicit, but at the same time fragmented, in your documentary: this sort of

2. music is engine for activities! Truly there are more difficult criminal activities than "loving your own folk" in this world, however they are not persecuted. Is recruitment a possible reason for this persecution? You yapped about it, but you did not say it is-- surely it is-- a reason why we are persecuted, or much better, there are opposite forces pulling individuals from other sides into their own gardens. Excellent ... In overall simpleness you expressed so well the moment "before the performance" in Verona (likewise in Britain showing real rehearsal). It's direct, it's clear ... I'll compose more about it later in the modifying area. Another excellent note about the concert in Germany (it was like you were there ready to be jailed together with the skins!). I saw you noticed how web increased the sales and the dispersing of our music ... this is genuine. Anyhow, you didn't examine about how our music is technically and artistically produced. (You should have seen that artistic production is nearly totally missing out on in this scene!) You revealed a recording studio ... but what about other services, live recordings and ... range recordings? You also talked insufficient about executive production: if you look carefully you'll discover deep gaps among labels! You touched the MTV topic, however which are the essentials for being on MTV? And do we want to exist or are we avoiding? (I personally was on the charts for many downloaded tunes on mtv.it ... eheh! I'm dreadful!). Or did you ask yourself: in terms of numbers does the white power motion produce and prefer more musically experienced bands or lyrically oriented bands? Which is the balance among these 2 aspects? (Erich simply mentioned something about it) Is there any kind of attempt/effort for a commercial item? Prussian Blue have a company behind, they "aggressed" the media, they have a television team supporting them, a network of advancers ... you spoke about them, but did not notice this! And how would a music industry based upon political groups make distinction from current mainstream markets if it removes? What consequences does it take? You spoke about bands, some in political groups, others external, however which are the differences between a band in politics and a band which is not? Is music more transversal when outside the party? What about the "fans"? How much do they invest? How do leading seller items alter according to age, country, earnings ... of buyers? What about peer-to-peer and how does it harm our scene? How do fans engage and cultivate their interest (forums, mp3-video-photo uploads, blogs and original sites ...)? The Turner Diaries: cutting that part there was location for all these elements or for another band ... I would have selected Kolovrat or some other band from Eastern Europe. I appreciated the reality-- and now I'll be eliminated for this-- that you didn't mention Ian Stuart so much, however your analysis of "hate rock" has been modern. I liked a lot the line you followed, checking out the shows and their backstages as self-talking environments. What's truly missing? I'm not the only one who states this: I think you didn't focus at all on the metal scene, such as Burzum (whose cds are sold at your local Virgin Megastore!), or neofolk (I'm considered neofolk, however I'm not one of the excellent artists who play this category). You didn't speak about the pagan and christian subcurrents and their battles (oh, so wrong to have faith and politics together ... however this happens!). And what else ... you didn't see there are some professionists who make this music and who are trying their method outside the motion. (I will not choose, because I'm uncertain I am allowed).

3. I'm sorry to state this last thing, since your work actually should have lots of honours, however this documentary is still a "flouring" of white power music. I'm very critic about this, yes, like a spinster teacher, due to the fact that the attempt was really appealing and mature this time! So, genuine congratulations! My experience on the set and the comments of the old aunts ... I need to award the professionality of those who dealt with this documentary, clearly in specific those 3 nice men I pointed out on "Gloucester Road" (I don't know the others ...). It was not my very first time on television and on press in basic. Apart from conservative press stuff, my relationship with the out-of-the-ghetto press has constantly been rather rainy ... do you remember, folks, for instance, my pictures with the bottle or when (on Italian satellite television) a prestigious reporter aggressed me and cut my hair? I have to say this time I was treated like a princess. I spoke, solutioned to questions, I was not aggressed, never interrupted and I have actually eaten and intoxicated. I was revealed on the screen like a typical woman with a guitar throughout a possible common moment of my life-- ok, Magnus and Katana are still laughing on the floor stating I stroll like a duck. Also all the other people in the video are "males and females". I received some complaints by means of email about what I didn't state in the video ... you need to understand, in some cases I speak excessive and I had actually assured my close mates of Ashtree things about defence subjects and scientific reseach and paganism, since these are important styles in our struggle here at Ashtree Records. You didn't pick anything of this and ok, it's your choice. To those who state I'm revealed for a too brief time on this documentary I respond:. I have always tried to fill my music with hidden messages and now I appear on this video as a subliminal message, so I don't see the problem! Audience. Some individuals stated your documentary is too British. Well, in my opinion given that you are British and the documentary was first produced for Five and after that distributed overseas, I think you might have some British audience. I want to jot down some individual observations and I want to propose some brand-new hint for reflection and interest. Before investing cash on any television production, you need to have an idea about the audience to which your product is resolved. It's difficult-- believe-- it's tough to discover a male who's got no interest or merely never become aware of "hate rock", who sits down in front of the television and watches a program like this. It's not ignorance ... it's a scenario like going back home, tired from work and just unwind with something pleasant which depends upon tastes. You understand, tv is still not "programmed" by audience (even digital terrestrial, which is

4. offered like "power in the hands of the viewers!") anyhow the guy, who's God with the Remote Control, could choose a documentary about lions rather than sieg heil sieg heil ... You talked about "emerging hate rock". Do you think hate rock is occurring alone or is it accompanied by the variety of people who have an interest in watching your documentary on television? (Keep in mind, we sell cds because there are fond listeners). I'll attempt to be clearer. I have the interest to know, whether you considered to produce this video due to the fact that there are a great deal of individuals who want to know more about the topic. Someone shouted "another jewish thing!" ... no, I think, rather, as Orwell's Big Bro teaches, the unwanted reality is hidden! You DO show hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what kind of name is that? Anyhow, I believed MacIntyre was much worst, according to what my great cooperator from our Press Room Neil Rush stated: "George Clooney on holiday". Oh, God, I believed, What is it? I'm viewing from far Italy. The times I remained in Britain I never ever had the opportunity to see this man in action on tv, so this is my very first time. I read his name and I browsed on web. His images on his website don't make good impression of him as professional figure ... I'm not becoming a bigot ... I would like to focus once again on the introduction composed for this documentary. As I said above it seems a factious introduction, referring to words like "troubling increase of the racist and anti-semitic music industry". It's true, I should not connect the man with the words reported above, but-- this is a recommendations-- take note, Mac, since you might fall under the popular television trap of "compassion", an illness assaulting media ... nobody's safe! The history of times has taught: attractive = kind. Anyhow, Mac, I know you too little to go on discussing this. I found the place where you spoke adeguate. It was really "hip hop" style and in a specific way "opposed" to white power and considering that you are an external viewer (I'm not saying you're hip hop or black) the thing unconsciously matched somehow. I'm sure, I wager 50 pounds, you didn't consider this, but the place was selected due to the fact that it was more

5. "streetlife" and more "bad macintyre". Video & Noise Editing. I can not state much about shooting, since I haven't got the requisites to talk about it, however I can state something about the modifying, because it is a bit my cup of tea. There's very little to state in reality. It's a professional work and done by masters. I'm a little (some one would rather say "brief") beginner-- despite the fact that somebody has the courage to pay me for editing stuff-- but I believe I must take a look at. I currently talked about it, however I need to add in this section that the times utilized to explain the various minutes of the Verona event are as precise as a clock. Often too much "tourism" (essential, I do not deny!) cutting time for significative info. A "tourist" like the one in Detroit with explanations of locations and local animals is the great option. In some cases perhaps too long zoom in, zoom out on still images and ... I don't remember,. I perhaps took note about some too slow shift ... but those are options and strategic "fill holes" and stops briefly, change of rhythm ... The "futuristic" images music resulting in title "Hate Rock" after the introductive speech are like putting Madonna's "American Life" as soundtrack for a documentary about nuns. I don't know if this introduction is stylistically in typical with other documentaries from your series, but actually here it is a punch in an eye. I believe the introductive speech was enough, considering that it was a sort of well done summary, it could lead to title "Hate Rock" perfectly. The last 20 minutes of the program are much slower than the very first part. Is it my impression? Too long uncut videos, less movement ... in my viewpoint, after about 40 minutes play, such a video needs to get a faster rhythm because it resembles the audience-- I don't want to say it drops off to sleep-- is eating 300g of pasta and after all this food you might get enough of it. Sometimes different speeches of an exact same person taken in various locations, with too various sound backgrounds, are connected like a continuous speech however the contrast is too evident. You must have overlapped or attached more thoroughly or tried to reveal the video (even half a 2nd, do not require much) from which the ecological noise is taken. You might question "You, right you are telling me this ... have you ever seen your own things?". Yes, I have and I don't wish to keep in mind.