There’s been quite a few…
Los Angeles Times, ‘Wisconsin shooting brings secretive white power music into focus’:
Exact figures for the secretive scene’s reach are difficult to come by. Potok estimates there are several hundred bands, including ones based in Europe.
Most performances are underground and unadvertised, to avoid drawing attention from authorities and to prevent adversaries from disrupting the event and attacking show-goers.
An invitation to a white power punk show more often comes as a phone call or text message.
It is three days after the shooting, and I haven’t thought about much else since. Maybe the incident is more localized in my gut because I am a Sikh American. Or maybe because I spent two summers clerking for a law firm in Milwaukee, for that time making the Oak Creek gurdwara the one closest to home. Or maybe it’s because this is Wisconsin’s fifth gun-related mass killing in seven years, and that is an unconscionable stat. Still, I didn’t know if posting about this on Stereogum made sense, or what a post here would even be about, until I realized something that hadn’t been touched upon elsewhere.
The Awl, ‘Violence and Making Sense’:
There is simply no allegorical, edifying or fully-formed way to show completely senseless acts of violence. The narrative always skids right up to the point where the young man, who was so much like other young men, begins assembling a small armory. After the jump, a story that had been told in the fraudulent math that tries to balance a recognizable, human childhood with an incomprehensible, inhuman act, switches over to the fractured language of the newscast: helicopter images, computer re-enactments, grainy home videos, 911 calls, yearbook photos, the shots of children who could be our children crying in small huddles outside the crime scene. After two years of reading, watching and listening to pretty much everything about Cho Seung-Hui, I realized, with a thin flare of defeat, that the distance between us could never be measured, at least not in any instructive way.
New York Times, ‘The Sound of Hate’:
Among the most important hidden spaces is the white power music scene. Neo-Nazis are particularly adept at incorporating music into just about every aspect of the movement, having grasped the medium’s capacity to bring adherents together into shared experiences and sustain communities anchored in Aryan ideology.
The Atlantic, ‘Why the Reaction Is Different When the Terrorist Is White’:
Attacks like his are disconcerting to some white Americans for a seldom acknowledged reason. Since 9/11, many Americans have conflated terrorism with Muslims; and having done so, they’ve tolerated or supported counterterrorism policies safe in the presumption that people unlike them would bear their brunt. (If Mayor Bloomberg and the NYPD sent officers beyond the boundaries of New York City to secretly spy on evangelical Christian students or Israeli students or students who own handguns the national backlash would be swift, brutal, and decisive. The revelation of secret spying on Muslim American students was mostly defended or ignored.)
According to the SPLC, in 2011 the number of “hate groups” active in the US reached 1,018, 69% more than in 2000. The most striking growth has been within the “patriot” scene, which contains anti-government groups that cling to conspiracy theories and view the government as enemy number one. There were fewer than 150 of these (mostly inactive) groups in 2000. By 2011, there were almost 1,300. In fact, since 2009 this particular variant of the far right has grown at a rate of 755%.
Gawker, ‘In Defense of Neo-Nazi Music’:
I listened to “Murder Squad”—twice, actually—on a Nazi website I found, and I can’t say I liked it very much. Besides the ultra-racist lyrics, the music is awful and the production worse. It sounds like it was recorded in a teenager’s bedroom. In the end, it was no “Dead Wrong.”
The Daily Beast, ‘Inside the Creepy World of ‘Hate Music’’:
“Hammerfest was held for many years at a weird bar in rural Georgia,” she said. “They’d put up a bunch of swastikas, bands would perform and the mosh pit would get very violent.”