3,352 words
“Armies already wavering and giving way have been rallied by women who, with earnest entreaties and bosoms laid bare, have vividly represented the horrors of captivity . . . [The Germans] even believe that the sex has a certain sanctity and prescience, and they do not despise their counsels, or make light of their answers.”–Tacitus, Germania 8
Land of Ice
From My Tribute to Skrewdriver Volume 1
http://www.youtube.com/watch?v=Dbp6nUrEi7Q&feature=related [2:15]
Talking ’bout a land that is made of ice
A land of the North that is full of pride
Hearts full of fire, forests full of snow
We’re always made welcome by the friends we know
As we board the Swedish ferry and journey through the night
Gothenburg is waiting
Hearts of fire, land of ice
Hearts of fire, land of ice
We cross the mighty ocean and arrive next day
Comrades are waiting on the dock of the bay
We toast old friendships as we shake their hands
We swear to keep fighting to release our lands
The next day on to Stockholm to meet comrades of the fight
Their pride is Sweden’s struggle
Hearts of fire, land of ice
Hearts of fire, land of ice
[Instrumental interlude]
“Bevara Sverige Svensk” [“Keep Sweden Swedish”] is the slogan there
Nordic pride is the thing they share
To save their Northern country from the Marxist plague
To stop their country dying they fight every day
They’re fighting in Uppsala, in Södertälje they fight
In Borås and in Malmö
Hearts of fire, land of ice
Hearts of fire, land of ice
Hearts of fire, land of ice
A note on disambiguation, because if you do a search you may run into this problem: the Swedish singer of this song, known by her stage name Saga, is not to be confused with the Canadian rock band Saga or its first album (Saga), the bassist Saga of the Japanese rock band Alice Nine, or the album Sagas by German Viking metal band Equilibrium.
Saga was born in 1975 and currently resides in south Sweden. She works from her home studio before taking finished material to a professional studio and redoing it for the final result.
The Swedish woman is one of the most popular and well-known white nationalist singers in Europe. And she’s radical—no Buckleyite, philo-Semitic racialist she. As of 2007 she was the mother of two children.
On top of her professional talent, comeliness, and radicalism, Saga possesses the enviable ability to sing in English without the trace of an accent—reminiscent of older, mainline Nordic pop groups like ABBA and Roxette from Sweden, or Ah-ha from Norway. She also speaks English exceedingly well—again with no trace of an accent as far as I can tell. This exceptional bilingualism enormously enhances her worldwide appeal.
Early Work as Vocalist for the Swedish Metal Band Symphony of Sorrow
Swedish Gothic/Industrial Metal band Symphony of Sorrow, a project of lead vocalist Saga and three male members of the former Swedish death metal/white power band Triskelon, has been described as emphasizing themes of National Socialism, Religion, and Emotions. The band has cut two albums to date, Paradise Lost (1999) and Symphony of Hatred (2005).
The appeal of these works is probably limited to aficianados of the genre.
Covers of Ian Stuart and Skrewdriver
Saga’s fame and success rest primarily upon her extensive “covers” (actually, in her case, interpretations) of songs by the pioneer English skinhead band Skrewdriver. A cover, or cover version, is a new recording of a well-known song first sung or popularized by another performer.
She has created three albums in this vein, My Tribute to Skrewdriver Volumes 1–3 (2000–2001), which embody a near-perfect match of artist and material.
According to Saga’s website, she “was not alone in producing these. Several prominent RAC (Rock Against Communism) musicians assisted in the production and all songs, except a handful, were written by the legendary Ian Stuart. As a result, these albums were not considered solo projects.”
It has been said by more than one listener that Saga’s covers are much better than Skrewdriver’s originals. This is my opinion as well. (There are a few exceptions. I prefer Skrewdriver’s “The Road to Valhalla” to Saga’s.) As time went by, Saga brought more and more of her own sensibility to the music.
Perhaps a better way of expressing the relationship, though, is to say that Saga makes Skrewdriver accessible. It’s much easier to see Skrewdriver lead singer-songwriter Ian Stuart Donaldson’s (1957–1993) considerable accomplishment, musically, lyrically, and ideologically, if you approach him through Saga.
In addition, Donaldson possessed organizational ability and marked leadership qualities. You have to be able to look past the rough edges of his skinhead persona (which was 100 percent genuine) in order to perceive this.
Donaldson (also known as Ian Stuart), a northwestern Englishman of Scottish descent, formed Skrewdriver as a punk rock band in 1975, but the group subsequently evolved into the first major white power/skinhead band in the world, famed throughout Europe.
Donaldson and his band were harassed by authorities and by anti-white domestic terrorist groups unofficially sanctioned by the government. Donaldson was convicted and served time in prison. He was killed in an automobile accident in England at age 36 at the height of his fame. Like Saga, Skrewdriver had to release its music through small, independent, non-Establishment labels and distribution channels.
The oppression and violence the group experienced perhaps explains the disproportionate emphasis (that is, in comparison to the indifference displayed by most WNs) on freedom of speech and thought in many of Skrewdriver’s (and Saga’s) songs and lyrics.
Nor does it escape my attention that the words in the following song were written by a man, loathed by Jews and government officials who had employed violence and repression against him, who was ultimately killed prematurely in an automobile accident.
Suddenly
From My Tribute to Skrewdriver Volume 3
http://www.youtube.com/watch?v=MpMr2AN651I&feature=related [4:46]
We live in changing times
When certain thoughts are now a crime
Power flows through an evil pen
And freedom’s light is growing dim
Chorus:
One day if suddenly, I’m forced to take my leave
Will you still carry on, with the things that we believe?
One day if suddenly, they take my life away
Will you still be fighting to win a bright new day?
The people who’ve stood against us
They seem to be above the law
With the power to listen in to private moments in your lives
With the power to come kick down your door
[Repeat Chorus]
[Instrumental interlude]
[Repeat Chorus]
Our strength has come from ideals many years old
A strength that has survived within our blood
A strength our foe has recognized, and sworn to drag it down
He wants to drag our people through the mud
Chorus:
One day if suddenly, I’m forced to take my leave
Will you still carry on, with the things that we believe?
One day if suddenly, they take my life away
Will you still be fighting to win a bright new day?
Here’s what one YouTube commenter said in response to this song: “fukin nazi fucks, fuck off and die. and this slag needs her throat cutting. fuck all of u. i hope someone shoots your kids if u support this cunt.”
On a UK Black Metal site one commenter sneered, “I see a gang raping in her future,” and another added, “She needs a stiff black dick.”
Sure, these are the comments of scum—quite possibly college-educated scum—but their hatred is also the hatred of the state and of society: of government, police, security agencies, prosecutors, judges, the SPLC and the ADL, academics, journalists, and Hollywood.
Don’t think for one moment that such sweet people intend to let your race survive. They hate—they jail, they assault, they defame, they destroy families, they torture, they kill, they impoverish, they discriminate, they lie, they silence, they censor. They’re behind replacement migration. They possess the will and the power to commit genocide.
YouTube’s mix for Skrewdriver (the original band) lists 100 video uploads of an officially reviled and out-of-the-mainstream group. One Skrewdriver song, “White Rider,” has well over half a million hits. Some have tens or even hundreds of thousands of views. And this is nearly two decades after Skrewdriver’s demise, when many youthful listeners weren’t even born.
The thing about this phenomenon is that, although marginal from the perspective of the larger culture, in terms of the white movement it is a mass affair; it is aural and visual rather than print; it engages the subconscious and the emotions as well as the intellect; it reaches the young (the future) instead of the old; and it excludes non-whites and Jews.
Midgård Records
The producer of Saga’s albums is Gothenburg, Sweden-based Midgård Records, which was founded by Per-Anders “Pajen” Johansson as a retail record store in 1994. His objective was to provide young Swedes with an alternative to the anti-white music of the Establishment.
According to the company’s website, the newly-established shop was smashed a few nights after it opened, with no arrests or, apparently, serious investigation by police.
Midgård moved to a more secure location in a privately-owned house, and stayed open for the next 6 years, 5 days a week, despite night attacks, Red demonstrations, and media assaults. The store was also the target of government investigations and harassment.
Johansson closed the shop in 2000 because the owner of the premises refused ro renew the lease. However, two years earlier Midgård had launched a mail order service to reach people around the world, plus its own label to produce pro-white records in innovative styles to professional standards.
In addition to Saga, Midgård sells music by Bound for Glory, Brutal Attack, Fortress, Landser, No Remorse, Pluton Svea, Skrewdriver, Stahlgewitter, Storm, and Sturmwehr, together with stylized clothing, posters, flags, and similar items. Books offered for sale include Swedish translations of David Irving’s Göring, Codreanu’s For My Legionaries, and William Pierce’s The Turner Diaries.
It would be interesting to estimate the potential market for white power music of all kinds—metal, rock, pop, folk—in terms of numbers of customers and total revenues, as well as potential profit margins. It would be smart for entrepreneurs producing such music to focus on intellectual property and contract law, which are of primary importance in such areas.
Of course, it is no easy task to own or operate any kind of business. And when you factor in denial of access to normal commercial marketing and distribution channels, racist-totalitarian laws to suppress white speech, and Jewish and Communist domestic terrorists and mobsters working (in effect) hand-in-glove with law enforcement and government, the rigors of ordinary free market competition, merciless enough on their own, pose, perhaps, the least of one’s problems.
Nevertheless, the very fact of suppression intensifies both inchoate and potential market demand, even if would-be consumers have no way of knowing that they would want such music if it were available.
Pro Patria III
In 2002, Midgård asked Saga to take up the microphone on the third volume of its Pro Patria series. The Pro Patria albums are an ongoing project between Midgård Records and patriotic Swedish musicians. The albums in the series maintain a soft style, “an alternative to the traditional hard rock, punk and metal that saturated the Nationalist music scene,” on the theory that “we should face the enemy with all means possible,” according to the firm’s website.
Saga’s Pro Patria III, her only album to date sung entirely in Swedish rather than English, took about a year to produce and supplied patriotic lyrics to popular Swedish tunes. Saga’s vocals and musical arrangements were radically softened from her hard metal Symphony of Sorrow sound.
Pro Patria III was a success throughout Sweden, Scandinavia, and Europe.
On Her Own
Saga’s outstanding success covering Skrewdriver material created a problem. Could she create new material, or was her considerable talent limited to rendering cover versions of songs by other artists?
She met this challenge head-on with her next album, On My Own (2007), a major departure. She served as singer, songwriter, lyricist, and producer of the piano-driven melodies.
Live Video of Saga
Video clips of Saga performing live are not plentiful on the Internet, and the sound and picture quality of those that do exist are poor. It is happenstance material independently recorded and posted by random audience members. Still, the few available clips do show what she looks like, and provide some insight into her live performances.
The most professional-looking performance clip I was able to locate is the elegiac “Ode to a Dying People” from On My Own. The music video includes relatively clear images from two live performances.
http://www.youtube.com/watch?v=XwT75Afi55w&NR=1 [6:35]
An audience member shot this live video [3:54] of Saga performing “One Nation Arise” from On My Own in Hungary in 2011, but as usual the audio is extremely poor.
There are a handful of other live clips available. The most notable of them is a raw, undated video called Saga Live in Finland that is indispensable for understanding both the performer and the explicitly (not implicitly) white, radical social milieu she rose out of. And yes, that is the f-word she speaks at the beginning.
Note that in Live in Finland the Swedish singer communicates with her drunk, male, Finnish skinhead audience in English.
Swedish is an Indo-European (Germanic) tongue, Finnish a member of the Finno-Ugric subgroup of the non-Indo-European Uralic language family. (This does not mean that Finns are non-white or “less white.”) To what extent Swedish and Finnish are mutually intelligible I don’t know. But Swedish is a co-official language in Finland, where ethnic Swedes make up about 6 percent of the population.
Saga Live in Finland
http://www.youtube.com/watch?v=m7q8564e5Yc&feature=related [3:22]
You probably can’t decipher the lyrics, but the Skrewdriver song looks forward to white victory won:
Hail the New Dawn
From My Tribute to Skrewdriver Volume 2
(Full lyrics from the clear studio recording, not the Finnish performance 3:59)
Hey!
Hey!
Hey!
Hey!
Hey!
Hey!
Hey!
Hey!
Comrades, the voices of the dead battalions
Of those who fell, that Europe might be great
Join their song, for they still march in spirit with us
And urge us on that we gain the national state
Chorus:
The streets are still, the final battle has ended
Flushed with the fight, we proudly hail the dawn
See over the streets, the White man’s emblem is waving
Triumphant standards of a race reborn
Blood of our blood, spirit of our spirit
Sprung from that soil, for whose sake they bled
Against the vested powers, Red front, and massed reaction
We lead the fight for the freedom and for bread
[Repeat Chorus]
Hail the new dawn!
Hail the new dawn!
Hail the new dawn!
Hail the new dawn!
People who we trusted, again have let us down
Jailing men of this nation for fighting for their land
We will fight forever, until the end releases us
Never gonna submit to the six point master plan [changed from “Jewish master plan” in Skrewdriver’s 1983 original]
[Repeat Chorus]
Hail the new dawn!
Hail the new dawn!
Hail the new dawn!
Hail the new dawn!
Hail!
In addition to the two Symphony of Sorrow albums, the three Skrewdriver cover albums, the Swedish-language Pro Patria, and On My Own, Saga has released two live performance discs containing selections of her songs: Saga: Live & Kicking (2000), recorded at Midgård’s Ian Stuart Memorial Concert in 2000, and Comrades Night Live (2010).
The latter album was recorded “last year at a secret location in the snow-covered heartland of Sweden, [where] 175 delegates from Sweden and beyond gathered to discuss the plight of our people in their homelands and how to move forward in these dark days.” It includes “the bonus out-take, ‘The Snow Fell’ in which Saga forgets the lyrics—if ever you wanted proof it [was] being recorded live!”
Finally, here’s one more song to close this brief introduction to Saga.
Tomorrow is Always Too Late
From My Tribute to Skrewdriver Volume 2
http://www.youtube.com/watch?v=Di4M_Pwwz7k [3:30]
You tell me what you’d like to do, but I don’t want to know
My only interest is today, and where we want to go
We need the people to awake, and fight for us right now
‘Cause we will never be enslaved by the Zionist master plan
Chorus:
Tomorrow is always too late
We should never sit around and wait
Tomorrow is always too late
Get out there and do something today
Our enemies are capitalists, communists as well
Both these forms of evil are ringing our death bell
We salute the troops of yesterday, who fought the Marxist plague
We will carry on your fight as the White men of today
[Repeat Chorus]
We must remain true to our cause, for comrades thrown in jail
For their sake and sacrifice, we must never fail
For Crane and Pearce and Kuehnen too, and Eriksson as well
For the lonely man in Spandau, our efforts they must tell
Tomorrow is always too late
Tomorrow is always too late
Tomorrow is always too late
Tomorrow is always too late
We should never sit around and wait
Tomorrow is always too late
Go out there and do something today
Buy Saga’s albums from:
Her website: This is Saga (3 albums only: Comrades Night Live, On My Own, and Pro Patria III)
Her label, Midgård Records (all)
Discography as Member of Symphony of Sorrow
Paradise Lost (1999) (SoS’s debut album)
Tracks:
Blood Destiny
For the Love of Life
Freedom [2:59]
The Camp of the Saints
War Cry [2:53]
Beyond Good and Evil
The Final Outpost
The Iron Dream [3:04]
Paradise Lost
King of the Kings
Symphony of Hatred (2005)
Tracks:
Intro
Symphony of Hatred [4:48]
Racial Opus [4:39]
Runes
I Believe In You
You
Brand New Day
Fire In Your Heart
Someday
Integration [2:56]
Never March Alone
Outro
Discography as Saga
Saga: Live & Kicking (2000)
Tracks:
Showdown
Patriot
Our Pride is Our Loyalty
Europe Awake
Our Time Will Come
Wasted Life
Gone With the Breeze
Freedom (What Freedom?)
Tomorrow Belongs to Me
Voice of Britain
Hail the New Dawn
After the Fire
Son of Britain
My Tribute to Skrewdriver Volume 1 (2000)
"My Tribute to Skrewdriver," Volume 1 (right) & Volume 2 (left) (2000)
Tracks:
Son of Britain [Non-Skrewdriver song, a tribute to Ian Stuart]
Tomorrow Belongs to Me [3:21]
Triumph of the Will
Rising
Hail Victory
Where Has Justice Gone?
Klansman Song [2:19]
Land of Ice
Our Time Will Come
Showdown
Mr. 9 to 5 [2:01]
46 Years [Rudolf Hess]
Europe Awake [3:10]
Patriot [3:05]
Gone With the Breeze [Robert Mathews]
My Tribute to Skrewdriver Volume 2 (2000)
Tracks:
Voice of Britain
Strikeforce [South Africa]
European Dream [2:35]
Red Flags are Burning
Thunder in the Cities
Free My Land [4:14; replaces Skrewdriver’s lyrics “run by Jews” with “run by who”]
The Strong Survive
Suddenly
Prisoner of Peace [Rudolf Hess]
Tomorrow is Always Too Late [3:30]
Wasted Life
Hail the New Dawn
Searching
Land on Fire
The Road to Valhalla [2:55]
Tracks:
Son of Britain [Non-Skrewdriver song, a tribute to Ian Stuart]
Phoenix Rising
Green Fields of France
Suddenly
Freedom (What Freedom) [3:26]
Sleep Well My Brother
Europe on My Mind [3:20]
The Snow Fell [4:32; Germans on the Eastern Front]
Another Prayer for the Dying [about victims of anti-white violence]
Night Trains [Not about Jews being loaded onto cattle cars: a tribute to German soldiers departing for the Eastern Front!]
Tomorrow Belongs to Me
Midgård — Pro Patria III (2003)
Tracks (Swedish only):
Valkyrian [The Valkyrie 3:31]
Yttrandefrihet [Free Speech]
Rid Stolte Krigare [Ride Proud Warrior]
Krigarens Själ [Warrior’s Honor 3:23]
Röster
Evig Trohet [Loyalty Forever 4:22]
Frihetens Fana [The Banner of Freedom]
Drömmarnas Stig [Dreams Come 6:40]
Allt Är slut [It’s All Over]
On My Own (2007)
Tracks:
One Nation Arise [4:23]
Hypocrite
On My Own
These Moments [Tribute to her 2nd child, a daughter]
Black Bannered Legion
Stay Alive
Sick ‘n’ Tired
Ode to a Dying People
The Nation’s Fate
Goodbye David Lane [4:29; sung to Elton John’s “Candle in the Wind”]
Comrades Night Live (2010)
Tracks:
Arise [3:57]
Tomorrow Belongs To Me
Hypocrite
Hail the New Dawn
These Moments
On My Own
Kinsland [3:43]
Stay Alive
Racial Opus [3:43; non-metal version, with piano, re-worked from Symphony of Sorrow]
Ode to a Dying People
One Nation Arise
Behind Blue Eyes
Sick ‘n’ Tired [4:22]
The Snow Fell Bonus Track
14 Comments
Very beautyful songs. Especially Evig Trohet from the Pro Patria album. For everybody that like Saga I can recommend Ultima Thule which are also available on youtube.
http://www.youtube.com/watch?v=8PJ6nYfLrJw
RAC consisted of skinhead’s hell-bent on fighting and escapism (and getting pissed). Sadly, Saga’s music will just be another form of escapism for the already converted (those who do sod all). Those who follow the likes of Ian Donaldson and Saga are in it for music and not ideological commitment (getting off your arse and knocking on doors).
The skinheads who followed Skrewdriver were a waste of space. They never contributed anything constructive to the Nationalist cause or its future. In fact, they were a visible embarrassment to us all. Ian Donaldson was killed by driving a defective car. Never was there any government conspiracy to silence a skinhead singer. MI5 do not go round murdering people in the UK. Skinheads and their music were/are an embarrassment to British Nationalism. In fact, it was the National Fronts choice of embracing subculture music that finally destroyed its youth wing (i was in the NF at that time).
Looking at the audience in one of Saga’s videos (Finland) says it all! Also, rehashing (with different lyrics) Phil Spector’s Wall of Sound is inherently floored. This music will be the downfall of Nationalism.
Let’s leave music out of the movement. We need fighters and heroes, not singers, with drums, guitars and skinheads.
Question for Joe Owens.
I think your analysis of the skinhead “movement” is spot on.
My question is, what could have been done – SHOULD have been done – instead of the way things developed?
I saw the audience in the videos you referenced, and ask if someone like Saga looked, and thought to herself, “The best Idea in the world, the best Ideals in the world, and this is what we attract.”
We are doing something wrong, and it can not be that difficult to turn it around.
I would appreciate your ideas on what you would have done differently, particularly with the NF and the skinhead “Movement.” Are there lessons here for all of us?
Thank you.
What’s In YOUR Future? Focus Northwest!
Ceres, thanks for your reply/questions.
The movement (National Front) of the 1970’s (with hindsight) should have kicked the marches and meetings in the head. It should have concentrated on knocking on doors and talking to people (like the bnp was once doing. It’s now stopped this due to enemy infiltration). It was due to the violent confrontations with reds it attracted skinheads in the first place. Had the NF not been brought to the attention of skinheads via punch – ups at meeting and marches, history would have taken a different path. But once the skinheads had attached themselves to the NF (and British Movement), the NF’s days were numbered.
The movement has foolishly tried to borrow from its enemy, the very tools that are destroying us. We can’t repackage punk, skinhead, heavy metal, black metal or a thousand and one other post 1945 sub – cultures. We need to stick to the path of cultural renascence no matter how tempting the latest youth craze is. The very system spawning such poisons is doomed to fail by default. We can’t heal the sickness with repackaged germs.
Our movement must be one that preaches Health, Beauty, Toughness and Winning. So let’s stop being afraid of alienation those attached to dead – end causes. If they can’t see what needs to be done now, they never will do.
Leave them to sing, dance and get drink…
Joe, thanks for your considered comments.
We are fighting the genocide of the White Race.
I can only imagine Saga looking over the audience, and saying to herself, “the best Idea in the world, the best Ideals in the world, and this is what we attract. I can now understand that the skinheads were the sad, pathetic losers they chose to become before Skrewdriver gave voice to their issues, and the NF was coopted as a political force. What’s wrong with this picture, that the race that gave us Goethe, Schiller, the Luminist School of Painting, well, literally all that is good and right in the world, seems stuck in neutral – think Onslow, if you will.
Music should inspire. I read an interview with Saga, where she described when she began to Walk The Path. She was listening, and heard Ian, and Skrewdriver. This brought forth one of those moments like Harold Covington experienced in the parking lot at Chapel Hill High School, following his graduation.
I like your ideas of intelligent organization and disciplined activity. I wonder why we keep falling into the traps set for us. I know we shall prevail, eventually – we must – but the demoralization process described by Bezmenov has led to what Greg Johnson described – they have been defeated, have surrendered, and are essentially going through the motions.
Joe Owens in blockquote:
This is critically important. Yesterday is gone, and the people who adopt the Forms of Yesterday, without having the substance that made those Forms the appropriate response to that particular Cultural Moment, act like participants in a cargo cult.
They do need to be inspired, they do need to be led, they do need Better put before them.
I agree that turning Onslow into the masculine counterpart of Saga might be quite challenging, but we must Do Something to remoralize our people, and countervail against the demoralization the Enemy has used to attack us, with the intent of committing genocide against the White Race.
Wouldn’t such a cultural renaissance take place beginning with us being the yeast in the loaf, that could change the loaf, in time? Shouldn’t we follow the example of the Gramscians, in their Long March through the Institutions? Wouldn’t the place to begin be the churches, which we could attend while moving towards the development of parachurches, home churches, working with the home-based schooling community to establish new churches, leading to new communities, leading to a new Racial Homeland?
Isn’t the real starting place where we are, transforming our own lives into the living foundations of a new nation? Isn’t that what people who experienced that initiation moment, like Saga (and Harold Covington!) are trying to do?
What’s In YOUR Future? Focus Northwest!
There are large swaths of popular music that are implicitly white – country and metal, for example. It doesn’t seem like the pro-white movement needs to “claim” these types of music but merely educate and encourage our kids to like them and learn how to play them.
But if you want to go that extra step, education in traditional white music is a good thing. Where was your family from in Europe? What was the traditional music like there? Learn about it. Listen to it. Classical music is very much a traditional white musical form as well.
And going even further, I don’t see anything wrong with explicitly pro-white music, especially of Saga’s variety. She’s great. Her own songwriting can be a little hit or miss (perhaps she should team up with some songwriters to help out), but the woman can sing. Plus, when I’ve seen her interviewed she seems as articulate as anyone could want. If she can have some crossover appeal then more power to her. Why wouldn’t the pro-white movement want that?
Explicitly pro-white skinhead and metal bands have a limited niche appeal but some of them are damn good (especially Skrewdriver, of course). On the other hand, when such music get less about “blood and honor” and more about “hate rock” then yes, such music just sets itself up for the mainstream media to point to as a prime example of the crazy shit white supremacists are up to. Sometimes I wonder if the most extreme bands are more about some desire for self-alienation than about any sort of thought-through political expression.
Beautiful post. I sent Saga’s Ode to a Dying People to all my relatives last year. It’s amazing to read the words you posted, radical, determined. How can anyone imagine that Music can be put aside? My God! It’s sacred! All Kinds!! Here are four of my favorites – strength, beauty, intelligence, character – it’s all there:
http://www.youtube.com/watch?v=YvElljzi7rE&NR=1&feature=fvwp
http://www.youtube.com/watch?v=-QA7UU2R-hQ&feature=related
http://www.youtube.com/watch?v=qt-X0DGHvfI&NR=1
http://www.youtube.com/watch?v=cg5r7Xi5RpM – (ignore first 20 seconds)
John Curry’s Scheherazade (1980 Professional Version) is also wonderful, but I chose Grieg’s Nocturne above.
I have more in different styles; one day I found myself organizing them in the categories we talk about: Protest – Culture – Sex – Strong Men – Strong Women – like iron shavings, they seemed to fall into place. : )
I have to confess, there’s an Irving Berlin – it’s impossible not to absolutely love it !!!
Ward Kendall in blockquote, cited in italics:
Joe Owens: “Let’s leave music out of the movement. We need fighters and heroes, not singers, with drums, guitars and skinheads.”
My respect for the good Pierce did is more than balanced by the lack of better, for want of a better word, that he did not let happen. There is a fine line between indifference, and animosity revealed in passive aggression.
The idea that Pierce would go to such lengths to avoid political organization, which was what so many were looking for, says more than many in the WNist Community would feel comfortable seeing.
Can you take an organization seriously that on the one hand writes of the the best we could achieve – Kevin Alfred Strom – and on the other hand, promotes “bands” that certainly undermine all of the words he says?
No.
This is active demoralization, one of the most effective techniques of The Enemy. Pierce seems to have supported it by leading his followers to a point, and never going past that point, or even mentioning it explicitly. Pierce, often reading from scripts written by Kevin Alfred Strom – good scripts, by the way – would fire up the troops, and lead them…nowhere.
So with the music. It could have been an opportunity to teach music that would help inspire the soul, leading the listener forward (for example, teaching them bel canto singing, and why it matters) but that would have been effective.
We can’t have that, can we?
Vaginal Jesus, and Grinded Nig – the preferred music of the Piercians at the National Alliance. Such music certainly supported the Piercian Plan of political ineffectiveness.
All you need to know.
What’s In YOUR Future? Focus Northwest!
Stop bashing the skinheads, they are the first to have the guts to go on the streets when other WN hide in their houses and wait the messiah.
ITALIA
http://www.youtube.com/watch?v=hxUY55hUnGM
FRANCE
http://www.youtube.com/watch?v=wrXgirreG40
GREECE
http://www.youtube.com/watch?v=wcYPqYhw8YQ&feature=related
DR in blockquote:
DR, think it through. The skinheads go in the street – AND THEN WHAT?
Well, in our case, they make fools of themselves, give a very poor impression for the media (deliberately, more often than not), get sent to the emergency room, dodge the repo man, go back to the bar and get drunk – again. Full employment for the bail bondsman, though. Yes, I really want to join up with them!
The essence of Leadership can be summed up in two words – “Follow Me!” Who in their right mind would follow these failures anywhere?
Think it through. Look at all of the incredible efforts Uncle Adolf had to put into forming the NSDAP into an effective political force. Now, ask yourself why the skinheads never made it to the next level, but are stuck in essentially oppositional defiance, an adolescent state of mind.
Recognize they are battling a deliberate plan of genocide, and are reacting in a nihilistic manner; they have already been defeated before they take to the field of battle.
How much better to look at them, find the salvageable ones, and help them to Make Something Of Themselves. How much better to offer them a framework to develop in?
We have to start doing better, much damn better. We DO have the best Idea, we DO have the best Ideals, and we DO have the damndest group of embittered failures out there claiming to represent us, and what we stand for, to one degree or another.
Uncle Adolf said, when the NSDAP was being started with a scant handful of supporters, they had plans to be the vehicle for the fulfillment of an ideology. Yes, this required lots of political tacking, but the metapolitical end he served proved most beneficial, for the German people.
What’s In YOUR Future? Focus Northwest!
Andrew Hamilton has given us a remarkable analysis. Thanks very much for that. The best summary I have seen of Skrewdriver calls forth some questions.
Andrew Hamilton in blockquote:
This is a stunning insight, which does not detract from either artist.
Is this why he was so successful, and so few others had the ability to stand in his shoes? Is it that Donaldson could actually organize – a radical concept among WNists, to be sure – with a strategic purpose in mind? Was his “leadership” abilities, combined with this talent, what posed such a threat – a real, “Lead From The Front” type who could articulate a revolutionary vision for a social order that had rejected him, first along class lines, and then along Racial lines?
Note that this was just after the OPEC destination embargo of 73-74, a pivotal moment in Western economic history. It had to have been obvious to Ian that things were declining, rather dramatically and rather obviously. His solution seems to have had two components – (1) Identify the Deep Enemy, to the extent possible, and (2) Inspire his listeners to find their testosterone button, and dial that baby to “10.” Every time I hear him do “Stand UP!,” I think, “Damn! What assertiveness! What firepower! Why don’t country music bands do covers of this one?”
I see it, and please correct me if I am in error, as the realization that his generation of his Race were being thrown over the side, and knew that neither choices offered by the political system were effective choices, for the working class types he came from, and who favored his music, and his message.
This is the Big Question: What did the government see in Donaldson that called forth the systematic response that we see? Was it that Ian could be the Next Step in being the blue-collar Leader, a dramatic counterpoint to Enoch Powell? Could it be that Skrewdriver might have done an album called “Rivers of Blood?” Powell could be fenced off from the masses by virtue of his class. Donaldson couldn’t have, try though they may. It might be that, at a certain point, Ian rejected the “paste-glass jewel of middle class respectability” (HT: Alex Linder) and formed the foundation for an authentic political Movement?
The blue–collar, working class, two-fisted, natural Leader and organizer version of Enoch Powell, with nothing, and nothing to lose, could have inspired a true political Movement; skinheads are certainly roundheads, after all!
Point taken. Most people do not want freedom, or, more exactly, they do not want to accept the responsibility that comes with freedom. They want liberty; the liberty to be libertines.
Yet, to my memory, he never named the Jew. He always spoke of “the Reds,” and “Communism.” Was this from his realization that he had to get on the board, first, and then make changes?
Final Question: If he was alive today, and in his prime, what would he do, and why?
Thanks for your patience in reading this longish answer. I have always wondered how the Authorities turned all of the skinheads into Onslow. And, isn’t it ironic that Ian Stuart speaks best to us today through a very upscale young lady in Sweden?
What’s In YOUR Future? Focus Northwest!
No musical genre (whatever it is) is going to RALLY OUR PEOPLE! All it will do is turn them into pleasure seeking fools. Sigmund Freud’s “pleasure principle” is riding high amongst those who follow today’s music. Freud’s disciples know this only too well. Sadly, most on our side don’t seem to have noticed.
Here are those about save us…LOL!!!
http://www.youtube.com/watch?v=xH34nU12QiA&feature=related
Fourmyle of Ceres:
Thank you for your comments and queries. You read the article with close attention, which I appreciate. You’ve given serious thought to the subject—something I had not done previously.
I think for my article later this week I’ll set forth some random thoughts about Ian Stuart and Skrewdriver (since article-wise I feel written out at the moment), and in the course of it try to respond to the major questions you raise.
It’s not that I’m an expert on Donaldson or Skrewdriver—far from it! My attention was drawn to him only because of Saga. Still, we all have ideas and opinions about music, celebrities, and so forth, even when we’re not experts about the subjects in question.
I do think that your statement, “His solution seems to have had two components – (1) Identify the Deep Enemy, to the extent possible, and (2) Inspire his listeners to find their testosterone button, and dial that baby to “10”” is correct. The natural ability to inspire is strong in his music—in fact one of its most prominent characteristics.
When I referred to organizational ability I was thinking primarily in terms of his musical endeavors and relationship to the NF. As far as I’m aware he did not have any personal political ambitions.
Donaldson did name the Jew. In fact, Saga removes some of these references in her covers. I cited two examples in the article: in “Free My Land” she replaces Skrewdriver’s lyrics “run by Jews” with “run by who,” and in “Hail the New Dawn” the words “Never gonna submit to the six point master plan” have been substituted for “Jewish master plan” in Skrewdriver’s 1983 original. He also wrote of “Zionists.” I think Saga may have done this due to hate speech laws that have been imposed since the songs were written.
I do not know enough about Stuart to answer the question, ” If he was alive today, and in his prime, what would he do, and why?”
Finally, to readers in general, I know it is tempting to skip URLS offered without much explanation (or even offered with explanation!), but you may want to check DR’s 3 links in defense of skinheads in his post above. They are worth taking a look at. The two longest are about 5 mins. in length; the third about 2 mins.
Stuart indeed did name the enemy–check out “Voice of Britain,” where he refers to the Zionist media, the “leeches of the nation…”
Without getting into too much hyperbole, I see Stuart the same way I see George Jones–no, seriously–they both utilize simple, straightforward song structures and lyrics; compare the short, plain words repeated throughout. Very lowbrow, not complex, non-intellectual, but somehow the emotional resonance is there. The words blood, nation, soil, heart, fire…are all repeated throughout Skrewdriver’s lyrics. Simple, evocative words. Unpolished, sincere vocal delivery. And it works, despite the amateurish musicianship and sub-par production.
Any man with White blood in his veins should feel something when hearing “Hail the New Dawn” or “After the Fire.” Sure, the vast majority of skinheads were in it for the fun, but some of those kids went from listening to Skullhead, drinking and fighting to become grown men taking it to the next level.
I know this from experience–as a young punk (with all the typical lefty leanings) I was introduced to WP music via Skrewdriver, leading to my eventual racial awakening. How many others have had this same “gateway” experience? Anything that has the power to create such a paradigm shift has some value.
With all due respect, Joe Owens, I hardly think anyone is waiting around for a singer or band to rally our people. Music has its place, but it needs to be kept in perspective.
Looking forward to the next article.