Ask Me Anything: Two Answers To Your Questions About Dyson Sphere

1. Another bullet in the cake? No, this time I consume the cake. I finally saw "Hate Rock" the long awaited-- actually 23 hours download-- documentary about us. The presentation of the documentary seems much more difficult than what the video says in reality. Prior to seeing this video I requested impressions to individuals who saw it on the cable television in the United States and all their remarks have been very negative. I was caught days ago while answering to some questions on the phone. I categorized this documentary as antifascist propaganda, due to the fact that this is what it appears reading the introduction on the sites (SMG productions and Discovery Times) and this is how people described the program to me. I have to state rather, after watching the work, that it is a "documentary" and not the supreme show about the "absolute evil". If I ever missed anything or did not comprehend anything or if you just want to post a remark (including the anticipated "go to hell"), you can send a message to my forum (you don't require to sign up) or to my e-mail address: viking@ashtree.org Contents Length constraint (about 1 hour) and lack of time make also the very best of the videos a marginal work. You must have asked yourselves: what to consist of and what to exclude? How to delineate the whole documentary? So, this is the area in which I will note (I will exceed!) your "made 30s, why not 31?", all good recommendations for somebody who'll attempt to compose a book-- possibly-- about hate rock in future, and I think many of the important things I will make a note of here were possibly purposely left out, not just forgotten. I have actually seen you pointed your attention to our basically extreme faces, the "user interface", so how music is spread, how shows are organized, what various images we use, the persecution we get and so on ... it's an excellent video, but I think in some cases it is too "visual", it often proposes some songs with "impact" lyrics however does not enter their deep meaning, imaging individuals outside already know about our beliefs (only in Detroit instead you captured a good deal of descriptions about some elements of white power music or when you talked 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 boundaries the "white power" movement into the racist thing too much. Question top: what is a racist? And on a higher level: what is a nationalist? It would have been intriguing to know how a song is born, in what circumstance. From the documentary we seem to want ethnic cleaning primarily 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, because I understand myself), which is not a tune about that topic, however about the issue of social combination. You chose from my interview my declaration "I state I'm not a nazi, I'm a fascist, I need to defend my italian history" ... I must comment, with or without that sentence my position does not alter: I'm a so-called "white power" songwriter anyhow, so the declaration-- drawn out from a long conversation-- is redundant in this context. You talked a lot about persecution against our music, definitely life. I think you fully explained what takes place to our bands and organizers. Shawn made very clear arguments about it and Erich of Resistance included that music sales help the activities, however what's missing in between these parts? It's rather clear that people like the Big Jews or the Communists persecute us (Death to ZOG! Individuals yelled.), but nobody clearly revealed some opinions about the reasons. Hegemony for example? What does it imply? What could the interests be? (I understand it's difficult to talk mainly about it in such a video without falling out of the circle of the subject, but possibly a little idea could be provided).

2. I think the most important 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, but they are not persecuted. Is recruitment a possible reason for this persecution? You yapped about it, but you did not state it is-- certainly it is-- a reason that we are persecuted, or much better, there are opposite forces pulling individuals from other sides into their own gardens. Very good ... In overall simplicity you expressed so well the moment "prior to the show" in Verona (also in Britain showing real practice session). It's direct, it's clear ... I'll compose more about it later on in the editing area. Another good note about the concert in Germany (it was like you existed ready to be apprehended together with the skins!). I saw you observed how web increased the sales and the spreading of our music ... this is real. Anyway, you didn't examine about how our music is technically and artistically 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 solutions, live recordings and ... range recordings? You also talked too little about executive production: if you look thoroughly you'll find deep spaces among 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 most 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 competent bands or lyrically oriented bands? Which is the balance among these 2 elements? (Erich just pointed out something about it) Is there any kind of attempt/effort for an industrial product? Prussian Blue have an organization behind, they "aggressed" the media, they have a tv team supporting them, a network of advancers ... you discussed them, however did not discover this! And how would a music market based on political groups make difference from existing mainstream markets if it takes off? What consequences does it take? You talked about bands, some in political groups, others external, however which are the differences between a band in politics and a band which is not? Is music more transversal when outside the celebration? What about the "fans"? How much do they spend? How do top seller products alter according to age, country, income ... of buyers? What about peer-to-peer and how does it damage our scene? How do fans interact and cultivate their interest (online forums, mp3-video-photo uploads, blog sites and initial sites ...)? The Turner Diaries: cutting that part there was location for all these aspects or for another band ... I would have chosen Kolovrat or some other band from Eastern Europe. I valued the fact-- and now I'll be killed for this-- that you didn't point out Ian Stuart a lot, however your analysis of "hate rock" has been contemporary. I liked a lot the line you followed, visiting the concerts and their backstages as self-talking environments. What's really missing out on? 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 https://blogfreely.net/y0vafqv557/far-different-from-the-usual-tv- action-series-macgyver-premiered-in-fall-of sold at your regional Virgin Megastore!), or neofolk (I'm thought about neofolk, but I'm not one of the exemplary artists who play this genre). You didn't talk about the pagan and christian subcurrents and their struggles (oh, so wrong to have religion and politics together ... but this happens!).

3. And what else ... you didn't see there are some professionists who make this music and who are attempting their method outside the movement. (I will not nominate, since I'm not sure I am allowed). I'm sorry to state this last thing, because your work really is worthy of numerous honours, but this documentary is still a "flouring" of white power music. I'm really critic about this, yes, like a spinster instructor, because the attempt was truly 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 dealt with this documentary, obviously in specific those 3 good guys I mentioned on "Gloucester Road" (I don't understand the others ...). It was not my very first time on television and on press in general. Apart from right-wing press things, my relationship with the out-of-the-ghetto press has constantly been rather rainy ... do you remember, folks, for example, my pictures with the bottle or when (on Italian satellite television) a distinguished press reporter aggressed me and cut my hair? I have to say this time I was treated like a princess. I spoke, answered to concerns, I was not aggressed, never disrupted and I have eaten and intoxicated. I was revealed on the screen like a regular lady with a guitar during a possible regular minute of my life-- ok, Magnus and Katana are still laughing on the flooring stating I stroll like a duck. Likewise all the other people in the video are "males and females". I got some complaints through email about what I didn't say in the video ... you need to understand, often I speak excessive and I had actually promised my close mates of Ashtree features of defence topics and clinical reseach and paganism, due to the fact that these are essential themes 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 always attempted to fill my music with hidden 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 opinion considering that you are British and the documentary was first produced for 5 and then dispersed overseas, I think you might have some British audience. I wish to document some personal observations and I want to propose some brand-new hint for reflection and curiosity. Prior to investing money on any tv production, you should have an idea about the audience to which your product is addressed. It's hard-- believe-- it's hard to discover a guy who's got no interest or merely never become aware of "hate rock", who sits down in front of the television and watches a program like this. It's not lack of knowledge

4. ... it's a circumstance like going back home, tired from work and just unwind with something pleasant which depends upon tastes. You know, tv is still not "configured" by audience (even digital terrestrial, which is sold like "power in the hands of the spectators!") anyway the male, who's God with the Push-button Control, could choose a documentary about lions rather than sieg heil sieg heil ... You spoke about "arising hate rock". Do you believe hate rock is developing alone or is it accompanied by the number of individuals who are interested in watching your documentary on tv? (Keep in mind, we offer cds due to the fact that 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 great deal of people who wish to know more about the subject. Somebody screamed "another jewish thing!" ... no, I think, rather, as Orwell's Big Bro teaches, the unwanted truth is concealed! You DO show hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what kind 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 holiday". Oh, God, I thought, What is it? I'm enjoying from far away Italy. The times I remained in Britain I never 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 images on his website do not make great impression of him as professional figure ... I'm not ending up being a bigot ... I want to focus again on the introduction written for this documentary. As I stated above it appears a factious introduction, referring to words like "disturbing rise of the racist and anti-semitic music market". It's true, I must not link the man with the words reported above, but-- this is an advice-- take note, Mac, due to the fact that you might fall under the well known tv trap of "kindness", an illness assaulting media ... nobody's safe! The history of times has actually taught: attractive = 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" design and in a certain method "opposed" to white power and considering that you are an external audience (I'm not saying you're hip hop or black) the important things unconsciously matched somehow. I make sure, I wager 50 pounds, you didn't consider this, however the place was chosen due to the fact that it was more "streetlife" and more "bad macintyre". Video & Noise Modifying. I can not say much about recording, since I have not got the requisites to discuss it, however I can say something

5. about the editing, considering that it is a bit my cup of tea. There's not much to state in reality. It's a professional work and done by masters. I'm a little (some one would rather say "brief") novice-- even though somebody has the courage to pay me for editing stuff-- however I think I need to take a look at. I already discussed it, however I should add in this area that the times utilized to explain the various minutes of the Verona occasion are as accurate as a clock. Often too much "tourist" (essential, I do not deny!) cutting time for significative details. A "tourist" like the one in Detroit with explanations of locations and local animals is the good solution. In some cases perhaps too long zoom in, zoom out on still images and ... I do not remember,. I possibly kept in mind about some too slow transition ... but those are choices and tactical "fill holes" and pauses, change 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 know if this introduction 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 might result in title "Hate Rock" perfectly. The last 20 minutes of the show 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 must get a much faster rhythm because it's like the audience-- I don't want to state it drops off to sleep-- is eating 300g of pasta and after all this food you might get enough of it. Often different speeches of an exact same person taken in various places, with too different noise backgrounds, are connected like a continuous speech however the contrast is too evident. You ought to have overlapped or connected more thoroughly or tried to reveal the video (even half a second, don't require much) from which the ecological noise is taken. You might wonder "You, right you are telling me this ... have you ever seen your own stuff?". Yes, I have and I don't wish to keep in mind.