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1. Another bullet in the cake? No, this time I consume the cake. I lastly saw "Hate Rock" the long waited for-- really 23 hours download-- documentary about us. The discussion of the documentary seems much more difficult than what the video states in truth. Before watching this video I requested for impressions to individuals who saw it on the cable in the United States and all their remarks have been very negative. I was caught days ago while responsing to some questions on the phone. I classified this documentary as antifascist propaganda, since this is what it seems reading the introduction on the sites (SMG productions and Discovery Times) and this is how people explained the show to me. I have to state rather, after watching the work, that it is a "documentary" and not the ultimate show about the "absolute evil". If I ever missed out on anything or did not comprehend anything or if you just wish to publish a remark (consisting of the expected "go to hell"), you can send a message to my online forum (you don't require to sign up) or to my e-mail address: viking@ashtree.org Contents Length limitation (about 1 hour) and lack of time make also the best of the videos a marginal work. You must have asked yourselves: what to include and what to omit? How to delineate the whole documentary? So, this is the area in which I will note (I will go beyond!) your "made 30s, why not 31?", all excellent suggestions for someone who'll attempt to write a book-- maybe-- about hate rock in future, and I think much of the important things I will jot down here were possibly purposely omitted, not simply forgotten. I have actually seen you pointed your attention to our basically extreme faces, the "interface", so how music is spread out, how shows are organized, what various images we use, the persecution we get and so on ... it's an excellent video, however I believe sometimes it is too "aesthetic", it typically proposes some songs with "effect" lyrics however does not enter into their deep meaning, imaging individuals outside currently understand about our beliefs (just in Detroit rather you recorded a bargain of explanations about some aspects of white power music or when you spoke about the 14 words) and in some cases it leaves excessive towards descriptions of political organizations forgetting it is a documentary about music and it confines the "white power" motion into the racist thing too much. Concern number one: what is a racist? And on a higher level: what is a nationalist? It would have been intriguing to know how a tune is born, in what situation. From the documentary we seem to desire ethnic cleaning mainly or just and above all ... and you sent my song "Do not go round with the Jews", for instance (I'll take myself as example, since I know myself), which is not a tune about that subject, but about the issue of social integration. You selected from my interview my statement "I state I'm not a nazi, I'm a fascist, I should protect my italian history" ... I must comment, with or without that sentence my position doesn't alter: I'm a so-called "white power" songwriter anyhow, so the declaration-- extracted from a long discussion-- is redundant in this context. You yapped about persecution against our music, absolutely life. I believe you fully explained what occurs to our bands and organizers. Shawn made very clear arguments about it and Erich of Resistance included that music sales assist the activities, but what's missing between these parts? It's quite clear that individuals like the Big Jews or the Communists maltreat us (Death to ZOG! People shouted.), however nobody plainly revealed some viewpoints about the factors. Hegemony for example? What does it suggest? What could the interests be? (I know it's difficult to talk largely about it in such a video without falling out of the circle of the subject, but perhaps a little concept might be given). I believe the most important factor is implicit, however at the very same time fragmented, in your documentary:

2. this kind of music is engine for activities! Actually there are harder criminal offenses than "loving your own folk" in this world, but they are not maltreated. Is recruitment a possible reason for this persecution? You yapped about it, but you did not state it is-- surely it is-- a reason that we are persecuted, or much better, there are opposite forces pulling individuals from opposites into their own gardens. Very good ... In total simpleness you revealed so well the minute "prior to the performance" in Verona (also in Britain showing true rehearsal). It's direct, it's clear ... I'll compose more about it later in the modifying section. Another excellent note about the show in Germany (it was like you existed prepared to be apprehended together with the skins!). I saw you noticed how web increased the sales and the spreading of our music ... this is real. Anyway, you didn't investigate about how our music is technically and creatively produced. (You must have seen that creative production is practically totally missing out on in this scene!) You showed a recording studio ... however what about other options, live recordings and ... range recordings? You also talked insufficient about executive production: if you look carefully you'll find deep gaps among labels! You touched the MTV subject, however which are the essentials for being on MTV? And do we want to be there or are we avoiding? (I personally was on the charts for many downloaded songs on mtv.it ... eheh! I'm dreadful!). Or did you ask yourself: in regards to numbers does the white power movement produce and prefer more musically skilled bands or lyrically oriented bands? Which is the balance among these 2 elements? (Erich simply discussed something about it) Exists any sort of attempt/effort for a commercial product? Prussian Blue have a company behind, they "aggressed" the media, they have a tv crew supporting them, a network of advancers ... you spoke about them, however did not see this! And how would a music market based upon political groups make distinction from present mainstream markets if it removes? What effects does it take? You discussed bands, some in political groups, others external, but which are the distinctions in between a band in politics and a band which is not? Is music more transversal when outside the celebration? What about the "fans"? Just how much do they invest? How do top seller items change according to age, nation, earnings ... of purchasers? What about peer-to-peer and how does it damage our scene? How do fans communicate and cultivate their interest (forums, mp3-video-photo uploads, blog sites and original sites ...)? The Turner Diaries: cutting that part there was place for all these elements or for another band ... I would have selected Kolovrat or some other band from Eastern Europe. I valued the fact-- and now I'll be eliminated for this-- that you didn't discuss Ian Stuart a lot, 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 really missing? I'm not the only one who mentions this: I think you didn't focus at all on the metal scene, such as Burzum (whose cds are cost your local Virgin Megastore!), or neofolk (I'm considered neofolk, but I'm not one of the exemplary artists who play this category). You didn't talk about the pagan and christian subcurrents and their battles (oh, so wrong to have religion and politics together ... but this occurs!). And what else ... you didn't see there are some professionists who make this music and who are trying their method outside the movement. (I won't nominate, since I'm uncertain I am permitted).

3. I'm sorry to state this last thing, because your work really deserves lots of honours, but this documentary is still a "flouring" of white power music. I'm really critic about this, yes, like a spinster instructor, since the attempt was really promising and mature this time! So, genuine congratulations! My experience on the set and the comments of the old aunts ... I have to award the professionality of those who worked on this documentary, clearly in particular those 3 nice people I discussed 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 right-wing press things, my relationship with the out-of-the-ghetto press has always been quite rainy ... do you keep in mind, folks, for example, my photos with the bottle or when (on Italian satellite television) a prestigious press reporter aggressed me and cut my hair? I need to say this time I was dealt with like a princess. I spoke, solutioned to concerns, I was not aggressed, never interrupted and I have consumed and drunk. 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 chuckling on the flooring saying I walk like a duck. Also all the other individuals in the video are "males and females". I received some problems via email about what I didn't say in the video ... you need to understand, sometimes I speak too much and I had promised my close mates of Ashtree features of defence subjects and scientific reseach and paganism, due to the fact that these are essential themes in our struggle here at Ashtree Records. You didn't select anything of this and ok, it's your option. To those who state I'm shown for a too short time on this documentary I respond:. I have always attempted to fill my music with concealed messages and now I appear on this video as a subliminal message, so I do not see the issue! Audience. Some individuals said your documentary is too British. Well, in my viewpoint because you are British and the documentary was initially produced for 5 and after that dispersed overseas, I believe you might have some British audience. I want to make a note of some personal observations and I wish to propose some new tip for reflection and interest. Before investing cash on any tv production, you need to have an idea about the audience to which your item is addressed. It's hard-- think-- it's tough to discover a male who's got no interest or simply never heard of "hate rock", who sits down in front of the tv and views a program like this. It's not ignorance ... it's a circumstance like returning home, tired from work and simply relax with something enjoyable which depends on tastes. You know, tv is still not "set" by audience (even digital terrestrial, which is offered like "power in the hands of the viewers!")

4. anyhow the guy, who's God with the Push-button Control, might choose a documentary about lions rather than sieg heil sieg heil ... You discussed "developing hate rock". Do you believe hate rock is arising alone or is it accompanied by the variety of individuals who are interested in enjoying your documentary on tv? (Keep in mind, we sell cds because there are fond listeners). I'll attempt to be clearer. I have the curiosity to know, whether you considered to produce this video because there are a lot of individuals who want to know more about the topic. Somebody screamed "another jewish thing!" ... no, I think, rather, as Orwell's Big Bro teaches, the unwanted fact is concealed! You DO program hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what kind of name is that? Anyway, I believed MacIntyre was much worst, according to what my nice cooperator from our Press Space Neil Rush said: "George Clooney on vacation". Oh, God, I thought, What is it? I'm viewing from far Italy. The times I remained in Britain I never ever had the chance to see this guy in action on tv, so this is my very first time. I read his name and I searched on internet. His photos on his website don't make good impression of him as expert figure ... I'm not becoming a bigot ... I would like to focus once again on the intro composed for this documentary. As I stated above it seems a factious intro, referring to words like "disturbing increase of the racist and anti-semitic music industry". It holds true, I ought to not link the male with the words reported above, but-- this is a recommendations-- focus, Mac, since you might fall under the popular tv trap of "compassion", an illness attacking media ... no one's safe! The history of times has actually taught: attractive = kind. Anyhow, Mac, I understand you insufficient to go on discussing this. I discovered the location where you spoke adeguate. It was really "hip Learn more hop" style and in a specific method "opposed" to white power and because you are an external viewer (I'm not saying you're hip hop or black) the thing unconsciously matched in some way. I make sure, I wager 50 pounds, you didn't think about this, but the place was chosen since it was more "streetlife" and more "bad macintyre". Video & Noise Modifying. I can not state much about recording, since I haven't got the requisites to talk about it, but I can state something about the modifying, given that it is a bit my cup of tea. There's very little to say in reality. It's an expert work and done by masters. I'm a little (some one would rather say "brief") novice-- although someone has the nerve to pay me for editing stuff-- however I think I ought to examine. I already discussed it, but I ought to add in this section that the times used to describe the various minutes of the Verona event are as exact as a clock.

5. Sometimes excessive "tourism" (important, I do not deny!) cutting time for significative details. A "tourist" like the one in Detroit with explanations of locations and regional fauna is the excellent service. Often perhaps too long zoom in, zoom out on still images and ... I don't keep in mind,. I maybe took note about some too sluggish shift ... however those are options and strategic "fill holes" and pauses, modification of rhythm ... The "futuristic" images music leading to title "Hate Rock" after the introductive speech are like putting Madonna's "American Life" as soundtrack for a documentary about nuns. I do not understand if this introduction is stylistically in common with other documentaries from your series, however really here it is a punch in an eye. I think the introductive speech sufficed, considering that it was a sort of well done summary, it might result in title "Hate Rock" completely. 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 opinion, after about 40 minutes play, such a video needs to get a quicker rhythm due to the fact that it resembles the audience-- I don't wish to say it drops off to sleep-- is eating 300g of pasta and after all this food you might get enough of it. In some cases various speeches of a same person taken in different locations, with too various sound backgrounds, are connected like a constant speech but the contrast is too obvious. You need to have overlapped or attached more thoroughly or attempted to reveal the video (even half a 2nd, don't require much) from which the environmental noise is taken. You may wonder "You, right you are telling me this ... have you ever seen your own stuff?". Yes, I have and I do not wish to keep in mind.