Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music

212 Pages·2016·1.376 MB·English

by  Kirsten Dyck

Reichsrock

Reichsrock
The International Web of
White- Power and Neo- Nazi
Hate Music
KIRSTEN DYCK
Rutgers University Press
New Brunswick, New Jersey, and London
Library of Congress Cataloging- in- Publication Data
Names: Dyck, Kirsten, 1983- author.
Title: Reichsrock : the international web of white- power and Neo- Nazi hate music / Kirsten
Dyck.
Description: New Brunswick, New Jersey : Rutgers University Press, [2016] | ©2016 | Includes
bibliographical references and index.
Identifiers: LCCN 2016003234| ISBN 9780813574714 (hardcover : alk. paper) |
ISBN 9780813574707 (pbk. : alk. paper) | ISBN 9780813574721 (e- book (epub)) |
ISBN 9780813574738 (e- book (web pdf))
Subjects: LCSH: Heavy metal (Music)— Social aspects. | Heavy metal
(Music)— Political aspects. | Punk rock music— Social aspects. | Punk rock music— Political
aspects. | White supremacy movements. | Neo- Nazism. | Hate groups.
Classification: LCC ML3918.R63 D87 2016 | DDC 306.4/842— dc23
LC record available at http://lccn.loc.gov/2016003234
A British Cataloging- in- Publication record for this book is available from the British Library.
Copyright © 2017 by Kirsten Dyck
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic
or mechanical, or by any information storage and retrieval system, without written permis-
sion from the publisher. Please contact Rutgers University Press, 106 Somerset Street, New
Brunswick, NJ 08901. The only exception to this prohibition is “fair use” as defined by U.S.
copyright law.
Visit our website: http:// rutgerspress .rutgers .edu
Manufactured in the United States of America
For my parents, Arthur and Suzanne Dyck, who have helped me to
edit more drafts of this book than I reasonably should have asked
them to read

Contents
Acknowledgments ix
1 What Is White- Power Music? 1
2 The History of White- Power Music in Britain 13
3 The History of White- Power Music in Continental
Western Europe 34
4 The History of White- Power Music in Eastern Europe 76
5 The History of White- Power Music outside Europe 104
6 Conclusion 145
Notes 151
Select Bibliography 183
Select Recordings Cited 185
Index 189
vii

Acknowledgments
This book was made possible (in part) by funds granted to the author through
a 2014 Cummings Foundation Fellowship at the Jack, Joseph and Morton
Mandel Center for Advanced Holocaust Studies of the United States Holo-
caust Memorial Museum. The statements made and views expressed, however,
are solely the responsibility of the author. I am also grateful to the Emerging
Scholars Program at the Mandel Center for Advanced Holocaust Studies for
its support in the preparation of the manuscript and of the book proposal. I
appreciate, in particular, the help of Steven Feldman from the Mandel Center,
who helped me to revise my work and to connect with interested publishers.
This book was also supported through a 2011– 2012 Fulbright grant from the
German- American Fulbright Commission, as well as the former “Music, Con-
flict and the State” research group at Georg- August- Universität Göttingen,
which hosted me during my tenure as a Fulbright fellow. Many thanks both to
Fulbright and to the members of the research group. In addition, I am thank-
ful for the help of both the Auschwitz Jewish Center in Oświęcim, Poland and
the Museum of Jewish Heritage in New York City for jointly awarding me a
2011 Auschwitz Jewish Center Fellowship. I owe an immense debt of gratitude
to each of these institutions for their backing and encouragement.
Also, thank you to Marlie Wasserman and the other staff members at Rut-
gers University Press who believed in me, invested in my project, had patience
with me, and helped me to turn my manuscript into a book. Their support
especially includes soliciting feedback from anonymous peer reviewers, to
whom I am grateful for comments that have helped me to strengthen this
book immeasurably.
I am also thankful for the guidance and research support I received from
my doctoral dissertation committee in the Department of American Stud-
ies at Washington State University— my dissertation supervisor, C. Richard
ix
x • Acknowledgments
King, and committee members, David J. Leonard and John Streamas. Fur-
thermore, I am beholden to my Fulbright project supervisor, M. J. Grant, not
only for helping me to revise drafts of my work before, during, and after the
period of my Fulbright grant, but also for helping me to network with Euro-
pean scholars who were working on the subject of white- power music. I also
appreciate the assistance of the mentors who helped me with the initial stages
of this research project while I was a master’s student at York University, espe-
cially my supervisor, Robert Simms, as well as Robert Witmer and Robert van
der Bliek.
Finally, I am grateful to the friends and relatives who have offered me emo-
tional support and revision assistance with this project. Most importantly, I
appreciate the help of my parents, Arthur and Suzanne Dyck, without whom
none of this would have been possible. Also, a big thank you to Alex Parrish,
who helped me to revise many preliminary drafts of this manuscript, as well as
to John Niblett, who helped with the revision of the final draft. I deeply appre-
ciate the hard work of all of these individuals.