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Music of the White Resistance

An Interview With
George Eric Hawthorne

conducted by Kevin Alfred Strom
Free Speech,
April 1995
Volume I, Number 4

TODAY, WE ARE GOING TO explore one of the most promising developments in Western culture today. It is the flowering of a whole new branch of music, which I call music of the White resistance. The following lyrics are from a song which is a part of that flowering. It is entitled The Snow Fell. It is about the heroes of many nations who fought against Stalin -- here called the Beast -- on the Eastern Front in World War II.

    He sat in a room with a square the color of blood
    He'd rule the whole world if there was a way that he could
    He'd sit and he'd stare at the minarets on top of the towers
    For he was the Beast
    As he hatched his new plans to gain power
    And the snow fell, covering the dreams and ideals
    And the snow fell, freezing the blood and the wheels
    And the snow fell, they had to keep warm for survival
    And the snow fell, and defeated the Beast's only rivals....
    Then came the deadly road back from the steppes, of their retreat.
    The cold wracked the bodies but worse was the pain of defeat.
    Many people who had hailed them once now turned and looked away,
    These people now knew that the Beast was on his way.
    And the snow fell, covering the dreams and ideals,
    And the snow fell, freezing the blood and the wheels.
    And the snow fell, they had to keep warm for survival.
    And the snow fell, and defeated the Beast's only rivals.

Q: Welcome to American Dissident Voices, George Eric Hawthorne. We're delighted to have you here. Please call me Kevin.

Thank you Kevin.

Q: The song we just heard, The Snow Fell, is about the soldiers of Western Civilization on the Eastern Front fighting Communism. Is that right?

Yes, that's right. That whole chapter in human history is one of such immense tragedy when you begin to realize the importance of a victory having been won by the Axis forces during World War II. You realize what a tragic event it was: the soldiers who froze to death out on the Russian front.

Q: It wasn't only Germans who were fighting against Communism, was it?

Absolutely not. There were many other nations which had bonded together in the Axis forces that were trying to halt the advance of Communism. Even to this day there are remnants of these forces, and the memory of these forces has been kept alive in countries such as Latvia and Lithuania and Ukraine and many more I could mention.

Q: Are you the author and performer of The Snow Fell?

Actually, that is a cover song of an original song by a band by the name of Skrewdriver, which was led by the late Ian Stuart. We rearranged the song, added cello and piano and some vocal harmonies, went into the studio and rerecorded it for a tribute album that is being done for this individual.

Q: And you are the leader of the band which performed this new version?

I am the vocalist. Our band is called Rahowa.

Q: What does that mean?

Rahowa stands for Racial Holy War. It's an acronym using the first two letters of each word.

Q: You are also the editor of a very interesting and professionally produced magazine called Resistance. You are listed as the editor of Resistance and also as the president of Resistance Records. What are you and your colleagues trying to do with your music and your magazine?

My colleagues and I became very concerned with the propaganda that was literally being shoved down the throats of White youth in America and beyond. When we really studied this problem -- when we looked at it as objectively as possible, we began to realize that they were not stealing our youth away from our culture and from our past by using written words -- using text on paper and handing them books and saying Here, forget about your past and learn how to commit racial suicide. No, that wasn't what was happening -- instead, they were using cultural attrition. They were stealing our youth away using MTV and a whole network, a well-rooted network, promoting decadent values to the young people. And the main tool that they were using was music. Resistance Records was formed to counteract this whole process -- so that we would start having our own voice, and we would start being able to express all of our own cultural imperatives and our desire to have a piece of land for ourselves; and to use music as a way of reaching the young people.

Q: What kind of success have you seen?

In a very short period of time, we have seen our magazine nearly triple in its circulation, from an initial printing of 5,000 copies of issue one just ten months ago; and here we are ready to publish issue four, which will be 15,000 copies, or an increase of 10,000 in just ten months. We have been in touch with several mainstream bands who have told us We would like to come out and support you, but it would probably ruin our careers. So what we'd like to do is help you behind the scenes. These people have put us in contact with an entire renegade network in the music industry, people who know who controls the music industry, who've wanted to do something about it all along, yet have never had the glue to bring these people together and unite them, at least behind the scenes.

Q: So you're saying that Jewish control is present in the music industry just as it is in the print media, etc.?

Exactly. It should come as no surprise to anybody that is studying what is happening in the United States with the mainstream media, with the entire entertainment industry, that the music industry also falls under the exact same control by a very tight-knit group of people -- and they are almost exclusively of the Jewish persuasion.

Q: So there are certain aspects of youth culture that have naturally developed certain pro-White characteristics. But the people who control what goes on the radio stations, what goes on the major record labels, what goes on the television, have tried to squelch this and prevent it from reaching most of our youth.

Exactly. As a matter of fact, they are very very scared about what we are doing. And they are making every effort imaginable to keep our music off the record store shelves, to keep it out of the big distributors' catalogs, and for the most part they have been successful in the past. However, with the emergence of Resistance Records, we are organized and funded well enough so that we are starting to be able to compete on a similar level. We now have a professionally published magazine you made mention of earlier. We also are publishing music videos; and since MTV probably won't play them, since they are a controlled entity, we are publishing a home video tape, which interested persons can purchase through mail order, which contains music videos and concert footage and interviews with our bands. This is a way that the system cannot control what we are doing.

Q: People could even take that video and get it on public access television if that is available in their areas.

Exactly. What we have found is that, more often than not, people -- especially young people -- are attracted to things that are off the beaten path. If something has an "underground" flavor, or the image of being forbidden, the youth are naturally attracted to it. Now, in the past this is something that harmed our youth because they were attracted to things which were forbidden or at least discouraged for very good reasons. Examples would be race-mixing or the use of drugs. However, in 1995, the mainstream media have made everything O.K. except being proud of your race and culture, and this tendency of youth is now having a very undesired effect from the perspective of the mainstream media giants because these young people are now interested in the new forbidden thing; and that is being proud to be White.

Q: Right. Now that the neo-Communists and the New World Order types have things more or less the way they want them, now it is rebellion to be proud of your race. Obviously that's why you chose the name Resistance.

Exactly. The people who run this company are all young ourselves; we're in our early twenties. We see ourselves as being in touch, culturally, with the young people of our generation and the people who are between the ages of fifteen and twenty right now. We know what makes them tick. We know what they listen to and what they are interested in. And we are providing it to them. And they are responding with such enthusiasm, it is just unbelievable. We get hundreds of letters every single day. These young people are writing to us: Thank you, you've helped me get away from the drugs; you've given me a purpose in my life. They give us such support and thanks for what we are doing; it is really reaffirming our position as having done the right thing from the beginning.

Q: In the whole pro-White music scene, how many different bands, roughly, are we talking about?

When one starts to investigate the underground pro-White music movement, one discovers that it is absolutely enormous; and it is so underground and kept out of the attention of the mainstream viewer, that you would never realize that there are probably 40 or 50 White Power bands in the United States alone. In Canada there's another dozen. Across Europe it seems like every small locality, every small town and city, and definitely at least every country has a White Power band. A lot of them have published demos themselves that they distribute through a network of fanzines, which are small music magazines in which they print interviews and photographs and lyrics of these bands. There must be about 150 to 200 White Power bands in the world right now -- and how many of them can the average American mention?

Q: How long has this been happening and was it planned by anyone?

I think that one of the most beautiful things about the White Power music movement is the fact that it is a spontaneous development. This was not a development where a bunch of businessmen sat down at a drawing table and said, We're going to come up with the next youth culture. Much to the contrary, what happened with the White Power music movement is that it came out of the racial soul of the young people. They desired to have a voice. They were feeling things that they were told they weren't allowed to express. And music became the medium through which they expressed these things. It all began back in around 1975 or 1976. An individual by the name of Ian Stuart formed a band called Skrewdriver. The inspiration that he provided to a whole generation of young people in England at the time eventually started branching off, and it finally reached the United States in 1984. From that point it started rapidly expanding around the world until now, wherever you find White youth today there is a skinhead movement -- developing pro-White music, pro-White bands, holding concerts. I believe this is going to be the real wave of the future for the music industry. I don't think they can keep this down anymore.

Q: So the larger culture, by design, wasn't providing what these young people felt they needed. And it's been growing for nearly twenty years!

Absolutely. The media like to paint everything with the same brush. They like to put a label on something: Oh, this is Nazi. This is what skinheads are about. It's just about violence and that's it. They just like to put their stamp of disapproval on things, and they think that that's going to make people turn away and not investigate any further. But the reality is that for the last twenty years there have been very real issues of concern to White youth: ways that they do not feel satisfied, things that they feel they have to express, and they turned to the music as a way of doing that. It came out of their hearts. It came out of feeling neglected. White youth today are abandoned before they are even born. So many millions of them are abandoned while they are still in the womb. By the time they're born judgement has been passed on them. They are guilty of the "crimes" of their ancestors. They've held the world back. They've enslaved the planet. They are the evil people. That is what they are being taught, and it has a very damaging effect on the psyche of a young person who is really just trying to grow up.

Q: I understand that suicide rates among White youth are higher than they have ever been before.

Yes, as a matter of fact, suicide in North America among White youth ranks as the number two cause of death, right behind car accidents. When you add to that fact how many suicide attempts fail -- and when you add to that how many other youths are depressed enough to consider suicide but don't attempt it -- and when you further add to that the amount of White youth that are just discouraged about life in general and don't know where they stand and where they're going because this society gives them no foundation and nothing to believe in -- the magnitude of this problem becomes apparent.

Q: It would seem to me that this new subculture is providing what the larger culture isn't providing, and I am very proud of what you're doing.

Pro-White music includes many genres. Much of it is skinhead music, but what other genres are involved here?

We find that the only commonality in White Power music is the message, because they are many different types of music being explored with this type of lyrics. We have country music that we distribute: Johnny Rebel, which are recordings made back in the late 50s and early 60s. We have modern country bands which are playing a rockabilly style of music which is a combination of rock and country, like the Klansmen. There are bands such as say, Blood Axis, which is not even a skinhead band -- but it is pro-White music. It culturally is promoting European history and European values through its lyrics. There is a whole list of genres, and as many genres as there are, there are White Power bands playing this music. There is now an increasingly large neo-classical movement that combines neo-classical music and folk music together in a new genre that has all the elements of European culture in it. An example of a neo-classical song is The Snow Fell. And there are many more. And there are whole bands that are dedicated to just playing that style of music. It's really phenomenal. There's really something for everybody's tastes.

Q: The sales of some of these recordings is actually high enough to justify the production of compact discs in many cases, isn't it?

Absolutely. All the releases that Resistance Records puts out are released on both cassette and compact disc. Just to look at how large the sales of some of these albums have been, there are labels in Europe that have already sold, of single titles, up to 25,000 copies. Now I have learned, from people that I know in the mainstream music industry, and from information I have gleaned from magazines such as Billboard magazine, which is really the authority in the music business, that if you have a band that is selling any more than 10,000 copies of an album, independently, without the support of a major label putting on concerts and putting your records in thousands of record stores, you're going to get signed by a big label and they are going to pour millions of dollars into you.

Q: Unless you support the survival of the White race.

Exactly. There is where the clincher comes in for these bands. In many ways, these bands are musically talented enough to be making big money, playing the music they're playing, if they would just compromise the message. What really makes these men and women honorable that are playing in these bands is the fact that they are courageous enough and idealistic enough to stand their ground and hope and pray that one day people are going to listen to them.

Q: Some of these bands are undoubtedly giving up millions of dollars to stand up for their principles.

Exactly. Which, in this day and age, with all of the crooked politicians which are running the different White nations of the world, with all of the creeps in the mainstream media, is a very encouraging fact.

Q: White Resistance music is having great success across Europe and America. But some countries do not enjoy the same freedom of speech that we do here.

Yes. We have cases of such record companies such as Rockorama and Excalibur Records, which are both out of Germany, having their doors kicked in and having up to 50 or 60,000 CDs seized by the government. They have had to censor their music, and even have releases where they have beeped out key words that are forbidden. As some people have already learned, in Germany, numerous symbols have been banned -- even a symbol as simple as the Celtic cross, which is a symbol that is thousands of years old, has been banned because pro-White youth have used it in connection with this music, they've put it on their albums. So they've even had to have album covers in which part of the cover is whited out to cover up these forbidden symbols. Many of the runic symbols, which are letters from an ancient alphabet, have been banned in Germany.

We just had a recent case in England, with a label called ISD Records, another great company that publishes White Power music in England. They have had their doors kicked in, and the homes of a couple of the key people in this company have been raided. And again, thousands of CDs were seized by the government. The governments in these other countries are doing everything that they can to stop us. Similar actions have been taken also in Canada. What we have to remember, what every freedom-loving person must keep in his mind at all times, is that if the New World Order is able to rip up the First Amendment in the United States, we will become a police state. They will use police state tactics, they will use very draconian measures, they will be kicking in people's doors, arresting people and holding them up for public persecution just because they hold the wrong opinions. Not because they've harmed anybody. And not because they even advocate harming anybody. But simply because they hold the wrong opinions.

It is a very scary time to live. I think that people need to realize that now is the time to start standing up for these rights. Now is the time to start promoting these ideas. And we must be vigilant.

Q: I suppose that standing up for the survival of our race and culture these days is a little bit like standing up in the 13th century and saying you don't believe in witches and demons. What we have to remember is that in this day and age the mainstream media have managed to make these things very taboo.

Q: These aren't the actions of people who are convinced that they're right. Nor are they the actions of people who are convinced they are going to win. These are the actions of people who are very much afraid of the truth.

Absolutely. They don't want the truth to get out. They don't want people to know what they're really doing and what they're really all about.

Q: Your music has the potential for spreading like wildfire and they want to put out the fire.

They realize that if this were to catch on, any more than it is already, they're going to have a serious problem on their hands. How do they answer the questions of millions of betrayed people, who are demanding answers? What do you say to a fifteen-year-old that has had his culture destroyed before he even had a chance to participate in it? How do you answer to him why that happened? There is a lot of anger developing. It is so typical of the media, the way they label everything. They will say: Oh, that White Power music, that's just hatred, because they want to label every natural response mechanism of the White race trying to save itself as hatred. Why is it hatred when we are just trying to defend our culture and defend our race and have a piece of land that we can call our own? Why is that hatred?

Q: That's a good question. I know that in some racially mixed schools -- I recall one news story from Canada -- the authorities are so afraid of the rise of the White subculture, they have outlawed suspenders, and certain types of boots and shoelaces that are associated with skinheads, even though many of the kids that were wearing them weren't necessarily skinheads and were just trying to find some kind of common White identity.

Right. I really believe that this is going to backfire on them. Because a lot of these young people that are wearing these symbols are not people that want to cause trouble or cause harm to anyone. They are just young people that are expressing themselves and trying to be fashion-conscious. When they are told that they can't wear these symbols, they say Well, why can't I? And then the principals of these schools say It's because those are pro-White symbols, and that stands for hatred. And then the students ask What's wrong with me being proud of being White? It makes these young people start asking questions that the principals can't answer. And it's having an adverse effect. We had one school here, where we had some young people who were distributing our music in the school. They were selling our music in the cafeteria at lunch time to their friends, who were buying it up as if it would disappear if they didn't get their hands on it as quick as they could. Then the principal suddenly tried to ban this music in his school. What these principals forget is that the young people never asked them for permission to listen to what they wanted to listen to. Stating this has been banned means nothing to these young people.

Q: Let's hope that it makes your music even more popular.

I think it will.

Q: One thing that the media are always saying about skinheads, and skinhead music is an important part of the White music scene, is that they commit unprovoked violent acts, often while intoxicated. And Jewish organizations are using this as an excuse to take away freedom of speech and thought through so-called hate crime laws. What is the truth about skinhead violence?

I will say that there of course is an element in every subculture that is committing violent acts, that is going out and beating people up. But it is so small that for them to be highlighting it the way they are, and trying to make it seem like some pandemic problem, is really absurd.

Q: I looked into some statistics recently, and the truth is that of all interracial attacks in the United States, 90% are Black-on-White, not the other way around.

That's a figure that doesn't surprise me at all, Kevin. What I have seen at a typical skinhead concert is this: The skinheads will come there, they will have a few beers, they will chat amongst each other, they will enjoy some music, sing along with lyrics, meet up with some old friends; and at the end of the evening it's smiles, it's hugs goodbye, it's handshakes, and they're off on their way. All they want to do is to be able to express who they are. It is claimed by the media that skinheads have committed 25 murders since 1982 or something like that. Which, for one, is a completely absurd figure because they try to attribute any White-on-Black murder to a skinhead if it was a young person. They always are trying to label it that way. But you can see that this is even more absurd when you realize that more murders are committed in a single week in New York City than what they attribute wrongly to skinheads over the last 13 to 15 years. Are these people any less dead than the ones that the skinheads have allegedly killed? Are 2,000 murders a year in New York City irrelevant in comparison to 25 alleged murders over 15 years? It's a Trojan Horse. What they're really trying to do is trying to drum up support -- support which they are not getting -- to take away our rights to express ourselves.

Q: In your magazine, you do have a certain influence on White youth, many of whom are justifiably angry. What do you say to them? How are you trying to influence them?

A lot of these young people are pushed around in their schools. They are told they can't believe in who they are. They are told not to believe in their culture and their past. So what does well up in them is a lot of anger and a lot of hatred. And they want to lash out, because lashing out blindly -- lashing out with acts of stupidity, acts of violence -- is an action of the frustrated. What we are saying is Don't get yourself in trouble. Don't go do something that you're going to later regret. Instead, here is a program. Here is an idea that you can promote. Here is positive, progressive activity that you can be involved in to express all these feelings you are having and to keep yourself out of trouble, keep yourself off the streets, get yourself away from that bad crowd and start doing some positive things for your race. Although you are young, you have a tremendous opportunity in your life to contribute and give to the benefit of your people. These are the things that we promote: for them to be progressive and positive and not just lash out blindly at the system.

Q: Some of the older patriots that I have met are completely opposed to rock music. They see it as a destructive and degenerative influence on White youth. And looking at most rock music, I'd have to agree with them. Some of them think that the artistic expressions of the pro-White movement should not include rock. What do you say to them?

What is important for these people to realize is that the history of our race includes a very very diverse musical influence. There are times throughout our history when we have had many different types of music being played. We have not just always played baroque classical music. We have not just always played folk music or country music. We have had many different styles of music during the last three or four thousand years, many of which these same critics would not like very much. For instance, the ancient Vikings used to make as large a racket as possible: banging on drums, smashing things to make as much noise as they could. This was a form of ritual dance and music that was intended to summon the gods. They believed that they would waken the gods by creating this thunder. In many ways, if you compare that to the modern skinhead culture and even the wider culture of pro-White music, you have a lot of it that sounds very noisy, that sounds very heavy, and very loud. And it is meant to be played loud. It is warrior music. It is the new Viking music. This is not a time of peace when we can sit back and put on sweet violins and contemplate the cosmos. This is an era in which we are being forced into a life-or-death struggle for the survival of our people. And music that is hard, music that awakens the warrior spirit within these White people, within these White youth, which stirs up barbarian rages in them -- is healthy. It is a natural, instinctive response to the darkening of our world. We are ready for Ragnarok once again.

Q: You would agree, though, that some rock music -- though not the music you sell -- does have a Negroid sound to it and some Negroid influences?

I would have to agree with that. You can take any genre of music and you can blend it and cross it with other genres, and you can spoil it. This has even been done with baroque classical pieces. They have taken compositions by Vivaldi and put rap drumbeats to them and they've rapped to them. You can go into dance clubs and you can hear these bastardized versions of these beautiful compositions which have been ruined by including rap lyrics.

Q: But the artists who perform pro-White music have pretty well strained out any of these Negroid influences from rock, haven't they?

Absolutely. As a matter of fact, one of our bands is Bound for Glory, one of the most famous White Power bands in the world. The guitarist, Ed, from this band, whenever asked about from where his influences come for his music writing, says Wagner is his number one influence. He takes a lot of his chord progressions right out of Wagner's compositions and simply plays them on guitar. There is a direct similarity here. This is an evolution of music. We are simply using guitars to play a form of classical progression in a new music that does have a very heavy, powerful sound -- but for a reason.

Q: George Hawthorne, what is your musical background and your background in general? And how did you become aware of the racial problem?

That's a real loaded question there. To answer the first part of it, my musical background is that I studied trombone from the time I was nine or ten years old. I had some theory lessons, and later on I sang in a choir. I learned what know about music from that period of time. But I think I've progressed a lot more since I've actually joined the band. The reason that I started to become a White Power musician instead of just a regular musician was because I started to see the world around me changing in dramatic ways. Living in Canada here, you have to remember that we had almost no non-Whites back in 1970 when I was born. This country was 95 to 98% White. We had such dramatic changes taking place -- just as the liberals are saying today, they said: Oh, it's just 10,000 immigrants, it's just 100,000 immigrants, it's not that big of a deal. There are millions of people who live here. There's lots of empty land. Bring them in. But what we ended up seeing was that over the 25-year period that I have observed the changes in Canada the racial makeup has changed dramatically. It's now to the point where the city of Toronto, where I live, is now majority non-White. So what seems like a harmless level of immigration for just one year -- when it's compounded over a 25-year period and you add the breeding that these people do as soon as they arrive -- creates a very big problem. The first way this problem has been manifested here is not in violence, because we're getting a higher percentage of Asian immigrants than the United States gets. We do not have a large Black population here, and it seems like it is the Blacks that are primarily the ones that are bringing the violence. What instead we are experiencing is a real intrusion into our culture. There are many different ways we used to express ourselves, and things we used to celebrate, that we are told we can't express or celebrate any more. Things as simple as Christopher Columbus discovering America or the celebration of Christmas. Publicly, they don't want any Christmas trees put up any more. Non-Whites are lobbying for these types of changes to be made. The problems really run very deep, and it is a very hard question to answer. Especially throughout the last seven or eight years, I've noticed such dramatic changes taking place that I couldn't support what was going on. I had to say something about it.

Q: If our listeners are interested in finding out more about Resistance magazine and Resistance Records, how can they get in touch with you?

If they can't find us in their local record store, which is still hard to do, they can write to Resistance Records at P.O. Box 24700, Detroit, MI 48224. If they send a dollar, we will send them a copy of our magazine. In our magazine are listed all the releases we have available, as well as order forms and ordering information.

Q: George Eric Hawthorne, I'm proud of what you're doing for White youth, I'm impressed with your capabilities, I'm impressed with the music I've heard. May you have all success in your endeavors.

Thank you very much, Kevin.




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