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1. Another bullet in the cake? No, this time I consume the cake. I finally saw "Hate Rock" the long waited for-- actually 23 hours download-- documentary about us. The presentation of the documentary appears much harder than what the video states in reality. Prior to seeing this video I requested for impressions to people who saw it on the cable television in the United States and all their comments have actually been really unfavorable. I was captured days ago while responsing to some questions on the phone. I categorized this documentary as antifascist propaganda, because this is what it appears checking out the intro on the websites (SMG productions and Discovery Times) and this is how people described the program to me. I have to state instead, after enjoying the work, that it is a "documentary" and not the supreme show about the "absolute evil". If I ever missed out on anything or did not understand anything or if you simply wish to publish a remark (including the anticipated "go to hell"), you can send a message to my online forum (you don't require to sign up) or to my email address: viking@ashtree.org Contents Length constraint (about 1 hour) and absence of time make also the best of the videos a limited work. You must have asked yourselves: what to consist of and what to omit? How to define the whole documentary? So, this is the section in which I will note (I will go beyond!) your "made 30s, why not 31?", all good suggestions for somebody who'll try to write a book-- possibly-- about hate rock in future, and I think a number of the things I will jot down here were possibly purposely left out, not just forgotten. I have actually seen you pointed your attention to our basically severe faces, the "interface", so how music is spread out, how performances are arranged, what different images we use, the persecution we get and so on ... it's a very good video, but I think in some cases it is too "visual", it frequently proposes some songs with "impact" lyrics however does not get into their deep significance, imaging individuals outside currently understand about our beliefs (just in Detroit instead you caught a bargain of explanations about some aspects of white power music or when you talked about the 14 words) and often it escapes too much towards descriptions of political organizations forgetting it is a documentary about music and it boundaries the "white power" motion into the racist thing excessive. Question top: what is a racist? And on a greater level: what is a nationalist? It would have been interesting to understand how a song is born, in what circumstance. From the documentary we seem to desire ethnic cleaning mainly or only and above all ... and you sent my tune "Don't go round with the Jews", for instance (I'll take myself as example, due to the fact that I understand myself), which is not a tune about that topic, however about the issue of social combination. You picked from my interview my declaration "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 does not alter: I'm a so-called "white power" songwriter anyway, so the declaration-- drawn out from a long conversation-- is redundant in this context. You talked a lot about persecution versus our music, absolutely every day life. I believe you fully described what takes place 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 missing out on in between these parts? It's rather clear that individuals like the Huge Jews or the Communists maltreat us (Death to ZOG! Individuals screamed.), however no one plainly revealed some opinions about the factors. Hegemony for example? What does it mean? What could the interests be? (I'm aware it's impossible to talk largely about it in such a video without falling out of the circle of the subject, but possibly a little idea could be given).

2. I believe the most crucial reason is implicit, however at the very same time fragmented, in your documentary: this kind of music is engine for activities! Truly there are more difficult criminal offenses than "caring your own folk" in this world, but they are not maltreated. Is recruitment a possible reason for this persecution? You talked a lot about it, however you did not say it is-- undoubtedly it is-- a reason that we are maltreated, or better, there are opposite forces pulling individuals from other sides into their own gardens. Very good ... In overall simplicity you revealed so well the moment "before the show" in Verona (also in Britain revealing real rehearsal). It's direct, it's clear ... I'll write more about it later on in the modifying area. Another good note about the performance in Germany (it was like you were there all set to be jailed together with the skins!). I saw you noticed how web increased the sales and the spreading of our music ... this is real. Anyhow, you didn't investigate about how our music is technically and creatively produced. (You should have seen that artistic production is nearly completely missing in this scene!) You revealed a recording studio ... however what about other solutions, live recordings and ... distance recordings? You also talked insufficient about executive production: if you look carefully you'll find deep gaps amongst labels! You touched the MTV subject, but which are the essentials for being on MTV? And do we wish to exist or are we avoiding? (I personally was on the charts for a lot of downloaded tunes on mtv.it ... eheh! I'm awful!). Or did you ask yourself: in terms of numbers does the white power motion produce and choose more musically skilled bands or lyrically oriented bands? Which is the balance amongst these 2 aspects? (Erich simply pointed out something about it) Is there any sort of attempt/effort for a commercial item? Prussian Blue have an organization behind, they "aggressed" the media, they have a television crew supporting them, a network of advancers ... you spoke about them, but did not see this! And how would a music market based on political groups make distinction from present mainstream markets if it takes off? What consequences does it take? You spoke about 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 party? What about the "fans"? Just how much do they spend? How do top seller products alter according to age, nation, earnings ... of buyers? What about peer-to-peer and how does it damage our scene? How do fans connect and cultivate their interest (online forums, mp3-video-photo uploads, blog sites and original websites ...)? 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 killed for this-- that you didn't mention Ian Stuart a lot, but your analysis of "hate rock" has been modern. I liked a lot the line you followed, going to the concerts and their backstages as self-talking environments. What's truly missing out on? 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 cost your local Virgin Megastore!), or neofolk (I'm thought about neofolk, but I'm not one of the excellent artists who play this category). You didn't talk about the pagan and christian subcurrents and their struggles (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 attempting their way outside the movement. (I won't nominate, since I'm unsure I am enabled).

3. I'm sorry to say this final thing, since your work really should have lots of honours, but this documentary is still a "flouring" of white power music. I'm extremely critic about this, yes, like a spinster teacher, due to the fact that the attempt was actually promising and fully grown this time! So, sincere 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, obviously in particular those 3 great men I mentioned on "Gloucester Road" (I don't understand 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 always been rather stormy ... do you keep in mind, folks, for instance, my photos with the bottle or when (on Italian satellite tv) a prominent reporter aggressed me and cut my hair? I need to say this time I was treated like a princess. I spoke, responsed to questions, I was not aggressed, never disturbed and I have consumed and drunk. I was revealed on the screen like a normal woman with a guitar throughout a possible regular minute of my life-- ok, Magnus and Katana are still laughing on the floor stating I walk like a duck. Likewise all the other individuals in the video are "men and women". I got some problems through email about what I didn't say in the video ... you have to know, in some cases I speak too much and I had actually assured my close mates of Ashtree features of defence subjects and scientific reseach and paganism, because these are very important styles in our battle here at Ashtree Records. You didn't choose anything of this and ok, it's your option. To those who state I'm revealed for a too short time on this documentary I respond:. I have actually constantly 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 problem! Audience. Some individuals stated your documentary is too British. Well, in my viewpoint since you are British and the documentary was initially produced for 5 and after that distributed overseas, I believe you may have some British audience.

4. I would like to jot down some individual observations and I wish to propose some brand-new hint for reflection and interest. Prior to investing cash on any television 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 guy who's got no interest or simply never ever become aware of "hate rock", who takes a seat in front of the television and enjoys a program like this. It's not ignorance ... it's a circumstance like going back home, tired from work and simply unwind with something pleasant which depends on tastes. You know, television is still not "configured" by audience (even digital terrestrial, which is offered like "power in the hands of the viewers!") anyhow the man, who's God with the Remote Control, might choose a documentary about lions instead of sieg heil sieg heil ... You discussed "arising hate rock". Do you think hate rock is emerging alone or is it accompanied by the variety of individuals who have an interest in enjoying your documentary on tv? (Remember, we offer cds since there are fond listeners). I'll attempt to be clearer. I have the interest to understand, whether you thought about to produce this video because there are a lot of individuals who wish to understand more about the topic. Somebody screamed "another jewish thing!" ... no, I believe, rather, as Orwell's Big Brother teaches, the undesirable truth is concealed! You DO show hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what sort of name is that? Anyway, I thought MacIntyre was much worst, according to what my great cooperator from our Press Space Neil Rush stated: "George Clooney on vacation". Oh, God, I thought, What is it? I'm seeing from far away Italy. The times I remained in Britain I never ever had the chance to see this man in action on television, so this is my very first time. I read his name and I searched on web. His images on his site don't make good impression of him as expert figure ... I'm not ending up being a bigot ... I want to focus once 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 market". It's true, I must not link the man with the words reported above, however-- this is a recommendations-- pay attention, Mac, due to the fact that you might fall into the popular television trap of "compassion", an illness assaulting media ... no one's safe! The history of times has taught: good-looking = kind. Anyhow, Mac, I understand you too little to go on discussing this. I found the place where you spoke adeguate. It was very "hip hop" get more info style and in a particular method "opposed" to white power and given that you are an external viewer (I'm not stating you're hip hop or black) the important things unconsciously matched somehow. I make sure, I bet 50 pounds, you didn't think about this, but the place was chosen because it was more "streetlife" and more "bad macintyre". Video & Sound Modifying. I can not say much about shooting, because I have not 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.

5. 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") newbie-- despite the fact that someone has the courage to pay me for modifying stuff-- however I think I ought to examine. I currently discussed it, however I must add in this area that the times utilized to explain the different moments of the Verona event are as precise as a clock. In some cases excessive "tourist" (indispensable, I do not reject!) cutting time for significative info. A "tourist" like the one in Detroit with explanations of places and regional fauna is the great solution. Sometimes maybe too long zoom in, zoom out on still images and ... I don't remember,. I possibly remembered about some too slow transition ... but those are options and strategic "fill holes" and pauses, modification of rhythm ... The "futuristic" images music causing 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 introduction is stylistically in typical with other documentaries from your series, however truly here it is a punch in an eye. I think the introductive speech was enough, because it was a sort of well done summary, it could cause 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 motion ... in my viewpoint, after about 40 minutes play, such a video ought to get a much faster rhythm due to the fact that it's like the audience-- I do not want to state it drops off to sleep-- is eating 300g of pasta and after all this food you might get enough of it. In some cases different speeches of a same person taken in various places, with too different noise backgrounds, are connected like a constant speech however the contrast is too apparent. You need to have overlapped or connected more carefully or attempted to reveal the video (even half a second, do not require much) from which the ecological noise is taken. You might question "You, right you are informing me this ... have you ever seen your own stuff?". Yes, I have and I do not wish to remember.