The Most Common Complaints About Megayear, And Why They're Bunk

1. Another bullet in the cake? No, this time I consume the cake. I lastly saw "Hate Rock" the long awaited-- actually 23 hours download-- documentary about us. The presentation of the documentary appears much harder than what the video states in truth. Prior to enjoying this video I asked for impressions to individuals who saw it on the cable in the US and all their remarks have been very negative. I was caught days ago while solutioning to some questions on the phone. I classified this documentary as antifascist propaganda, because 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 state instead, after viewing the work, that it is a "documentary" and not the ultimate show about the "outright 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 expected "go to hell"), you can send a message to my forum (you do not require to sign up) or to my e-mail address: viking@ashtree.org Contents Length restriction (about 1 hour) and absence of time make likewise the very best of the videos a limited work. You must have asked yourselves: what to include and what to exclude? How to mark the whole documentary? So, this is the section in which I will list (I will surpass!) your "made 30s, why not 31?", all excellent advices for someone who'll attempt to compose a book-- maybe-- about hate rock in future, and I guess a lot of the important things I will make a note of here were perhaps knowingly omitted, not just forgotten. I have seen you pointed your attention to our more or less extreme faces, the "interface", so how music is spread out, how performances are organized, what different images we use, the persecution we get and so on ... it's a great video, however I believe in some cases it is too "aesthetic", it frequently proposes some tunes with "impact" lyrics but does not enter their deep significance, imaging people outside currently know about our beliefs (just in Detroit instead you caught a good deal of descriptions 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 excessive. Question top: 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 situation. From the documentary we appear to want ethnic cleansing mostly or just and above all ... and you sent my tune "Don't go round with the Jews", for instance (I'll take myself as example, since I understand myself), which is not a song about that topic, but about the problem of social combination. You chose from my interview my statement "I state I'm not a nazi, I'm a fascist, I must defend my italian history" ... I should comment, with or without that sentence my position doesn't alter: I'm a so-called "white power" songwriter anyhow, so the declaration-- drawn out from a long discussion-- is redundant in this context. You talked a lot about persecution versus our music, absolutely life. I believe you fully described what happens to our bands and organizers. Shawn made extremely clear arguments about it and Erich of Resistance included that music sales assist the activities, however what's missing in between these parts? It's quite clear that individuals like the Big Jews or the Communists maltreat us (Death to ZOG! People yelled.), however no one clearly revealed some viewpoints about the reasons. Hegemony for instance? What does it indicate? What could the interests be? (I understand it's impossible to talk largely about it in such a video without falling out of the circle of the topic, however perhaps a little concept might be given).

2. I think the most essential reason is implicit, but at the same time fragmented, in your documentary: this type of music is engine for activities! Truly there are more difficult criminal activities than "caring your own folk" in this world, however they are not maltreated. Is recruitment a possible reason for this persecution? You yapped about it, however you did not state it is-- certainly it is-- a reason we are persecuted, or better, there are opposite forces pulling individuals from opposites into their own gardens. Great ... In total simpleness you expressed so well the moment "prior to the show" in Verona (likewise in Britain revealing real wedding rehearsal). It's direct, it's clear ... I'll compose more about it later on in the editing section. Another great note about the show in Germany (it resembled you existed all set to be jailed together with the skins!). I saw you discovered how web increased the sales and the dispersing of our music ... this is real. Anyway, you didn't investigate about how our music is technically and creatively produced. (You need to have seen that artistic production is practically completely missing in this scene!) You revealed a recording studio ... however what about other services, live recordings and ... range recordings? You likewise talked too little about executive production: if you look thoroughly you'll find deep gaps amongst labels! You touched the MTV subject, but which are the essentials for being on MTV? And do we want to exist or are we preventing? (I personally was on the charts for the majority of downloaded tunes on mtv.it ... eheh! I'm horrible!). Or did you ask yourself: in regards to numbers does the white power motion produce and choose more musically experienced bands or lyrically oriented bands? Which is the balance amongst these 2 aspects? (Erich simply discussed something about it) Exists any kind of attempt/effort for a commercial product? Prussian Blue have an organization behind, they "aggressed" the media, they have a tv team supporting them, a network of advancers ... you talked about them, however did not observe this! And how would a music market based on political groups make difference from present mainstream markets if it removes? What consequences does it take? You spoke about bands, some in political groups, others external, but 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"? Just how much do they spend? How do leading seller products change according to age, country, income ... of buyers? What about peer-to-peer and how does it damage our scene? How do fans communicate and cultivate their interest (online forums, mp3-video-photo uploads, blogs and initial sites ...)? The Turner Diaries: cutting that part there was place for all these aspects or for another band ... I would have selected Kolovrat or some other band from Eastern Europe. I appreciated the truth-- and now I'll be killed for this-- that you didn't mention Ian Stuart so much, however your

3. analysis of "hate rock" has actually been contemporary. I liked a lot the line you followed, going to the concerts and their backstages as self-talking environments. What's actually 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 sold at your regional Virgin Megastore!), or neofolk (I'm considered neofolk, but I'm not one of the exemplary artists who play this genre). You didn't speak about the pagan and christian subcurrents and their battles (oh, so incorrect to have faith and politics together ... but this occurs!). And what else ... you didn't see there are some professionists who make this music and who are attempting their way outside the motion. (I will not choose, since I'm not exactly sure I am allowed). I'm sorry to state this last thing, due to the fact that your work really is worthy of numerous honours, but this documentary is still a "flouring" of white power music. I'm very critic about this, yes, like a spinster instructor, due to the fact that the effort was actually promising and mature this time! So, sincere 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, obviously in specific those 3 good people I discussed on "Gloucester Roadway" (I do not know the others ...). It was not my first time on television and on press in general. Apart from right-wing press stuff, my relationship with the out-of-the-ghetto press has always been rather stormy ... do you keep in mind, folks, for instance, my pictures with the bottle or when (on Italian satellite television) a prominent press reporter aggressed me and cut my hair? I need to say this time I was dealt with like a princess. I spoke, answered to concerns, I was not aggressed, never disrupted and I have eaten and drunk. I was shown on the screen like a regular lady with a guitar throughout a possible regular moment of my life-- ok, Magnus and Katana are still laughing on the floor stating I walk like a duck. Also all the other individuals in the video are "males and females". I got some complaints through e-mail about what I didn't say in the video ... you need to know, often I speak excessive and I had actually promised my close mates of Ashtree features of defence topics and scientific reseach and paganism, since these are necessary styles in our battle here at Ashtree Records. You didn't choose anything of this and ok, it's Additional reading your choice. To those who state I'm shown for a too short time on this documentary I respond:. I have constantly attempted to fill my music with concealed messages and now I appear on this video as a subliminal message, so I don't see the problem! Audience.

4. Some individuals stated your documentary is too British. Well, in my opinion since you are British and the documentary was first produced for 5 and then distributed overseas, I think you might have some British audience. I would like to jot down some personal observations and I wish to propose some brand-new tip for reflection and curiosity. Prior to investing money on any television production, you must have an idea about the audience to which your product is dealt with. It's hard-- believe-- it's hard to discover a male who's got no interest or just never become aware of "hate rock", who takes a seat in front of the television and sees a show like this. It's not ignorance ... it's a situation like going back home, tired from work and simply relax with something enjoyable which depends upon tastes. You understand, television is still not "programmed" by audience (even digital terrestrial, which is offered like "power in the hands of the spectators!") anyway the guy, who's God with the Push-button Control, might select a documentary about lions instead of 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 have an interest in viewing your documentary on tv? (Remember, we sell cds since there are fond listeners). I'll try to be clearer. I have the interest to know, whether you considered to produce this video because there are a great deal of individuals who want to understand more about the topic. Somebody yelled "another jewish thing!" ... no, I believe, instead, as Orwell's Big Bro teaches, the undesirable truth is concealed! You DO show hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what kind of name is that? Anyhow, I thought MacIntyre was much worst, according to what my great cooperator from our Press Room Neil Rush stated: "George Clooney on holiday". Oh, God, I thought, What is it? I'm watching from far away Italy. The times I was in Britain I never ever had the chance to see this man in action on television, so this is my first time. I read his name and I searched on web. His pictures on his site do not make great impression of him as professional figure ... I'm not becoming a bigot ... I would like to focus again on the intro written for this documentary. As I stated above it appears a factious intro, referring to words like "troubling increase of the racist and anti-semitic music industry". It's true, I should not connect the male with the words reported above, but-- this is a guidance-- pay attention, Mac, since you may fall under the well known television trap of "generosity", an illness assaulting media ... no one's safe! The history of times has actually taught: attractive = kind. Anyhow, Mac, I know you too little to go on discussing this. I discovered the place where you spoke adeguate. It was extremely "hip hop" design and in a specific way "opposed" to white power and considering that you are an external viewer (I'm not stating you're hip hop or black) the thing unconsciously matched in some way. I make certain, I bet 50 pounds, you didn't think about this, however the area was selected since it was more "streetlife" and more "bad macintyre". Video & Noise Editing.

5. I can not state much about filming, due to the fact that I have not got the essentials to discuss it, however I can say something about the modifying, considering that it is a bit my cup of tea. There's very little to state in truth. It's an expert work and done by masters. I'm a little (some one would rather state "brief") newbie-- although somebody has the guts to pay me for editing things-- however I think I should take a look at. I already spoke about it, however I must add in this section that the times utilized to describe the different moments of the Verona occasion are as precise as a clock. In some cases too much "tourist" (indispensable, I do not reject!) cutting time for significative info. A "tourism" like the one in Detroit with explanations of locations and local fauna is the good option. Often maybe too long zoom in, zoom out on still images and ... I don't keep in mind,. I maybe bore in mind about some too sluggish transition ... but those are choices and strategic "fill holes" and pauses, 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 do not know if this intro is stylistically in typical with other documentaries from your series, however really here it is a punch in an eye. I believe the introductive speech sufficed, given that it was a sort of well done summary, it could lead to 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 motion ... in my opinion, after about 40 minutes play, such a video ought to get a much faster rhythm since it's like the audience-- I don't want to say it goes to sleep-- is consuming 300g of pasta and after all this food you might get enough of it. Sometimes different speeches of a very same individual taken in different places, with too different noise backgrounds, are connected like a continuous speech however the contrast is too apparent. You ought to have overlapped or attached more carefully or tried to show the video (even half a second, don't need much) from which the ecological sound is taken. You might question "You, right you are informing me this ... have you ever seen your own things?". Yes, I have and I do not want to keep in mind.