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      Our Own Worst Enemy review: a caustic diagnosis of America after Trump

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      BooksOur Own Worst Enemy review: a caustic diagnosis of America after TrumpTom Nichols quotes Abraham Lincoln – on how American democracy can only be brought down from within Lloyd GreenSun 22 Aug 2021 02.00 EDTLast modified on Sun 22 Aug 2021 02.01 EDTLiberal democracy is under attack from within. Institutional trust erodes. Fewer than one in six Americans believe democracy is working well, nearly half think democracy isn’t functioning properly, and 38% say democracy is simply doing meh. Atomization, bowling alone and nihilism have converged at the ballot box.The Reckoning by Mary L Trump review – how to heal America’s traumaRead moreRepublicans are hellbent on shoving the events of 6 January, when supporters of Donald Trump attacked the US Capitol, down a deep memory hole. GOP governors in Florida, Mississippi and Texas remain sanguine as Covid-19 dispatches children to intensive care. Seven months into his presidency, Joe Biden looks to some like Jimmy Carter redux, competence and judgment seriously doubted, allies strained and divided. FDR, he’s definitely not.Into this morass parachutes Tom Nichols, with a meditation on the state of American democracy. Nichols grew up in a working-class home in Massachusetts and is now a professor at the US Naval War College and the Harvard Extension School. He is also a Never Trump conservative.In his eighth book, Nichols is pessimistic. “Decades of constant complaint,” he writes, “regularly aired in the midst of continual improvements in living standards, have finally taken their toll.”The enemy, Nichols asserts, is “us”. Citizens of democracies, he writes, “must now live with the undeniable knowledge that they are capable of embracing illiberal movements and attacking their own liberties”.As if to prove his point, Chuck Grassley, the ranking Republican on the Senate judiciary committee, recently made light of Trump’s attempts to have the Department of Justice subvert the election result. Even with Trump out of office, Senator Lindsay Graham continues to play first golf buddy, Renfield to Trump’s Count Dracula. A majority of congressional Republicans voted against certifying the 2020 election.In 2016, Nichols urged conservatives to vote for Hillary Clinton because Trump was “too mentally unstable” – far from the “very stable genius” he would later claim to be.In Our Own Worst Enemy, Nichols quotes Abraham Lincoln on how threats to American democracy always come from within: “If destruction be our lot, we must ourselves be its author and finisher.” Nichols sees the internet and the “revolution in communications” as the means by which we reached this dark point.Public life has become ever more about dopamine hits, instant reaction and heightened animus. Our fellow citizens double as our enemies. Electronic proximity breeds contempt, not introspection. Social media and cable television provide a community for those who lack a three-dimensional version.Nichols looks to ancient Greece for a reminder that nothing lasts forever. Admiringly, he quotes Pericles, the Athenian general and orator – but observes that Pericles was not around when his city state collapsed. He died two years earlier, behind “the besieged walls of Athens – from a plague”.History can repeat itself.In September 2016, writing in the Claremont Journal of Books under the pseudonym Publius Decius Mus, Michael Anton declared the contest between Trump and Clinton the “Flight 93 Election”: a reference to the plane that came down in Pennsylvania on 9/11 when passengers attacked their hijackers. Clinton, he argued, simply had to be stopped. First principles of conservatism could therefore be jettisoned.“Charge the cockpit or you die,” Anton thundered. “You may die anyway … There are no guarantees.”What, he asked, must be done “against a tidal wave of dysfunction, immorality and corruption?” To Anton, for the right, respect for “democratic and constitutional niceties” was ultimately a sucker’s game. Culture was stacked against them.After a stint as a Rudy Giuliani speechwriter, and other stops along the way, Anton joined Trump’s national security council.Later this year the Claremont Institute will honor Ron DeSantis. At a press conference earlier this month, the Florida governor asked: “Would I rather have 5,000 [Covid-19] cases among 20-year-olds or 500 cases among seniors? I would rather have the younger.”A few weeks later, the Sunshine State is getting the worst of both worlds.Simple decency, it seems, is for losers. Amid the last presidential campaign, comparisons between the US and the Weimar Republic were rife. The January insurrection was seen as our “Reichstag fire”. The attackers came from the right.Nichols absorbs and abhors it all. Not surprisingly, he takes particular aim at the populist right, which he says has been the “main threat” to liberal democracy over the past two decades. That is subject to debate, which Nichols acknowledges. Regardless, he writes that the populist right “is a movement rooted in nostalgia and social revenge”.As if to make Nichols’ point, Lauren Boebert, the hard-right, QAnon-adjacent Republican congresswoman from Colorado, recently trashed Biden for having left America’s friends in Afghanistan in the lurch – after voting last month against granting 8,000 immigration visas to Afghans who assisted the US military.‘We dodged a mortar round’: George Packer on America in crisisRead moreOther GOP diehards who opposed the legislation include Marjorie Taylor Greene, Mo Brooks and Paul Gosar. Greene and Gosar were charter members of the de facto white nationalist America First caucus. After a bomb threat on the Capitol this week, Brooks tweeted: “I understand citizenry anger directed at dictatorial socialism and its threat to liberty, freedom and the very fabric of American society.”Considering what ails America, Nichols offers limited prescriptions. He supports bridging the gap between civilian and military life. The progeny of the coastal elites opt for Ivy League colleges over the service academies, reinstatement of the draft isn’t likely and notions of national service all too frequently amount to “little more” than a paid internship, he writes.Concurrently, rightwing “Spartanism” breeds the unsustainable notion that “‘citizens’ and ‘soldiers’ are not the same people”.Nichols urges America’s youth to spend a summer in uniform, exposed to military life and skills. Most won’t join the army, he thinks, but will come away with a better knowledge of the soldier’s life. Right now, he laments, “there is no longer any common experience related to national defense”.Indeed. America has become one nation separated by a common language.
      Our Own Worst Enemy is published in the US by Oxford University Press
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      Ted Cruz’s campaign may have spent $150,000 on copies of his book

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      BooksTed Cruz’s campaign may have spent $150,000 on copies of his bookFollowing One Vote Away’s publication, the Republican senator’s campaign spent large sums of money at US chain Books-A-Million Alison FloodWed 18 Aug 2021 10.17 EDTLast modified on Wed 18 Aug 2021 10.25 EDTTed Cruz’s campaign spent more than $150,000 at US book chain Books-A-Million in the months after the Texas senator’s book was published, Forbes has reported.Cruz, who was prominent among the Republicans trying to block the certification of Joe Biden’s election, published One Vote Away: How a Single Supreme Court Seat Can Change History in September. A financial disclosure he filed on Monday, reported on by Forbes, shows he received almost $320,000 as an advance in 2020 from the book’s publisher Regnery Publishing.Ted Cruz threatens to burn John Boehner’s book over criticismsRead more“With a simple majority on the Supreme Court, the left will have the power to curtail or even abolish the freedoms that have made our country a beacon to the world. We are one vote away from losing the Republic that the Founders handed down to us. Our most precious constitutional rights hang by a thread,” says Regnery of the title. “In One Vote Away, you will discover how often the high court decisions that affect your life have been decided by just one vote.”The end-of-year report from Cruz’s committee, filed with the Federal Election Commission, reveals that two weeks after One Vote Away was published, his campaign spent $40,000 at Books-A-Million. Shortly afterwards, it spent a further $1,500, and in December, another $111,900. All of the purchases are described by the campaign as “books”, and Forbes speculated that they may have been used to boost his book sales, quoting Brett Kappel, a lawyer specialising in campaign finance, who said that “the FEC has issued a long series of advisory opinions allowing members to use campaign funds to buy copies of their own books at a discount from the publisher, provided that the royalties they would normally receive on those sales are given to charity”.Forbes previously reported what three other US senators had made from book deals in 2020: Elizabeth Warren earned $278,000, Tom Cotton $202,000, and Tammy Duckworth $382,000. All three used campaign funds to buy books, but Forbes said that their purchases were all under $20,000.A spokesperson for Cruz’s campaign told the magazine that the senator “has not received one cent of royalties in connection with any One Vote Away book sales”, but declined to reveal which books the campaign had spent more than $150,000 on.When Donald Trump Jr published Triggered in 2019, it made the New York Times bestseller list, but the newspaper’s charts included a dagger beside the book to indicate that “some retailers report receiving bulk orders”. The Republican National Committee denied making bulk orders at the time, and Trump Jr was angered by the suggestion that his sales had been artificially boosted, retweeting Republican strategist Andrew Surabian’s claim that “Don did multiple book signings where he sold 1,000+ books apiece. BookScan data will show he sold more books than the #2 and #3 books combined. Media/Dems want to pretend otherwise, but he was #1 on merit.”TopicsBooksUS politicsTed CruzTexasPublishingnewsReuse this content More

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      The Reckoning by Mary L Trump review – how to heal America’s trauma

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      BooksThe Reckoning by Mary L Trump review – how to heal America’s traumaA revealing blend of family lore, history, policy and anger casts light on the background and legacy of Donald Trump Lloyd GreenSun 15 Aug 2021 01.00 EDTLast year, Mary Trump delivered a salacious and venomous takedown of her uncle, Donald J Trump. Too Much and Never Enough doubled as awesome beach reading and opposition research dump, before the party conventions. Timing was everything.Trump was ‘in pain and afraid’ during post-Covid display of bravado, niece’s book saysRead moreGoosed by the Trump family’s attempt to stop publication and by simple proximity to election day, the book sold more than 1.35m copies in in its first week. Mary Trump then launched a lawsuit of her own against her uncle and his siblings, alleging they swindled her out of millions. The action remains pending, in court in Manhattan.Too Much and Never Enough had a subtitle: How My Family Created the World’s Most Dangerous Man. A year later, it seems a flashing red light. On 6 January, when Donald Trump’s supporters attacked the US Capitol, literary hyperbole acquired prescience.Now the Trump who doesn’t need a ghostwriter – and who is also a trained psychologist – is back with a second book, The Reckoning. It is a less lurid read but a darker one too. Under a slightly less alarming subtitle, Our Nation’s Trauma and Finding a Way to Heal, she delivers a bleak prognosis.The book is a mixture of family lore, history, policy and anger. As expected, Mary Trump’s disdain for her uncle is once again made clear. At her grandparents’ home, the N-word was bandied about. Her uncle, she says, grew up racist and antisemitic. If you’re wondering how such a man might have come to conquer a political party and win the White House, think on this: Steve Bannon, Trump’s campaign chairman in 2016, has discounted antisemitism in his boss – but declined to deny Trump’s race-baiting.Then there is the bravado Trump showed last October, after contracting Covid-19. “Doing his best Mussolini imitation, he took off his mask in a macho display of invulnerability,” Mary Trump writes, of the moment the then president returned to the White House from hospital, supposedly indestructible. “He clenched his teeth and jutted out his jaw, just as my grandmother did when she was biting back anger or clamping down on her pain. In Donald, I saw the latter.”Mary Trump is happy to wade into policy fights. Her diagnoses of America’s ills and policy prescriptions to tackle them place her squarely on the left. It is “almost impossible to grow up white in America”, she writes, “and not be racist”. Perhaps she is too pessimistic. Yes, many of the founders owned enslaved people. Yes, it took one century to end slavery and another to end official segregation. Yes, the effects linger. Inequality is baked in. Like a ghost, the past will always hover.But the US has undeniably progressed from where it stood 75 years ago, let alone 100 further back. Barack Obama won two terms as president. Kamala Harris is vice-president. Even in the Republican party, South Carolina, for so long a hotbed of sedition and segregation, racism and repression, is represented in the Senate by an African American, Tim Scott.Wading into stormy intellectual waters, Mary Trump embraces the 1619 Project, a proposal to center racism in American history, published by the New York Times. She does admit one of the project’s original claims, that the revolutionary war was fought to preserve slavery, was “a factual inaccuracy”. In doing so she joins leading historians including Sean Wilentz and James McPherson of Princeton as critics of the project.Mary Trump is also in favor of financial reparations to Black Americans in compensation for centuries of oppression, and a vocal opponent of “broken windows” policing. Under that theory, minor disorder is cracked down upon harshly, supposedly as a way of stopping more serious crime at source but disproportionately affecting minority communities.Looking at the impact of the policy on her own city, New York, Mary Trump goes full bore at Rudy Giuliani, once mayor, and Bill Bratton, Giuliani’s first police commissioner. She contends that the impact of “broken windows” policing was minimal at best, and that a reduction in crime in the 1990s was merely part of a larger “national trend”. Loathe Giuliani all you want but he deserves credit. His New York drove that trend.She continues: “In our cities and our schools, we all would have been better off if they’d just fixed the fucking windows.” Unfortunately, Bill de Blasio, the current mayor, can’t even be bothered with that. Parts of Fun City are not terribly fun.Mary Trump puts her positions passionately but perhaps she could pause to consider how such agendas play with voters. Even under the horrors of Covid, Joe Biden was the only Democrat who could have beaten her uncle. James Clyburn, dean of the Congressional Black Caucus, has acknowledged that one slogan popular on the left, Defund the Police, nearly cost control of the House.Ohio Democratic primary election: Shontel Brown defeats progressive Nina TurnerRead moreMore recently, in Ohio, Shontel Brown won a House primary against Nina Turner – a harsh critic of Biden. Alexandria Ocasio-Cortez and Bernie Sanders, leading national progressive voices, were in Turner’s corner. Clyburn had Brown’s back. At the ballot box, moderation matters. So do coalitions.According to Mary Trump, “we are heading toward an even darker period in our nation’s history”. This week, Chuck Grassley, the ranking Republican on the Senate judiciary committee, made light of her uncle’s attempts to have the Department of Justice subvert the election result. There is reason for more than just concern. The past five years, the age of Donald Trump, have cast a harsh spotlight on America.Each of us will see what we will see. Our cold civil war continues. With her second book, Mary Trump offers food for thought – and grist for the mill.
      The Reckoning is published in the US by St Martin’s Press ($28.99) and in the UK by Atlantic (£18.99). To support The Guardian and Observer, order your copy at guardianbookshop.com. Delivery charges may apply.
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      From Opera to MMA: Nationalist Symbolism and the German Far Right

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      The German far right is awash with allusion. Like elsewhere, coded communication is the rule among far-right German organizations and activists. References to old Norse myths abound, and many readers, whether from familiarity with mythology, white nationalism or Norse-inspired superhero movies, would recognize Thor’s hammer or a smattering of runic symbols like the Sigrune, the Odalrune and the Wolfsangel, all subject to specific bans in Germany. However, a less familiar but persistent presence in German far-right codes is the Nibelungenlied, a medieval epic poem long co-opted by nationalists.

      The Musical Is Political: Black Metal and the Extreme Right

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      The Nibelungenlied story centers on Siegfried, a hero in the mold of Beowulf: a strong, nearly invincible warrior who has won riches through his exploits, a powerful sword and a cloak of invisibility. Siegfried is very much the belle of the medieval bro-ball. The poem begins with Siegfried traveling to the German town of Worms to propose marriage to Kriemhild, the Burgundian princess. Her brother, King Gunther, consents to the match, but only if Siegfried helps him win the hand of Brunhild, the warrior queen of Isenland. It’s to be a double wedding.

      Following the nuptials (and a disturbing episode involving the marital rape of Brunhild), a feud emerges between Kriemhild and Brunhild. The conflict culminates in one of Gunther’s kinsmen murdering Siegfried, thrusting a spear into the vulnerable spot in his back. The remainder of the poem (the whole second half, that is) revolves around Kriemhild’s revenge, which results in the violent death of pretty much all the main characters, including Kriemhild herself. Taken together, the Nibelungenlied is an illuminating portrayal of ancient Germanic heroism and courtly drama.

      Rediscovered in the mid-18th century, the popularity of the poem swelled with the rising tide of German nationalism in the 19th century. Most famously, the composer Richard Wagner, a German nationalist and virulent anti-Semite, reimagined the story in an epic four-part opera consisting of “The Rhinegold,” “The Valkyrie,” “Siegfried” and “Twilight of the Gods,” collectively known as “The Ring of the Nibelung” or the Ring cycle, for short. Of course, several of the operas’ leitmotifs are instantly recognizable, not least the “Ride of the Valkyries.” Wagner’s Ring cycle became a landmark of German art and is still performed today, occasionally in back-to-back-to-back-to-back marathon productions.

      Embed from Getty Images

      The Nazi regime was preternaturally keen to memorialize German lore, especially the Nibelungenlied, given its association with Wagner. An enthused Hitler was an honored guest in Bayreuth, home to Wagner’s own theater. Several symbols from both the original and Wagner’s version appealed to the Nazis, perhaps most notably the murder of Siegfried. It reflected the “stabbed in the back” (Dolchstoß) conspiracy theory that the Nazis propagated, namely that the German army was betrayed during the First World War by treasonous Jews and leftists.

      The regime supported several projects stamped with the label of the Nibelungs. Chief among them was the cavernous Nibelungenhalle in Passau, the putative home of the original composer of the Nibelungenlied, which was used for mass indoor rallies. In the postwar era, far-right parties like the German People’s Union and the National Democratic Party of Germany organized assemblies with the specific intention of using the nationalist cachet of the Nibelungs — until Passau’s authorities demolished the building in 2004.

      Still, appropriation of the Nibelungs legend endures among Germany’s far right. Beginning in 2013, right-wing extremists organized the “Kampf der Nibelungen” (KdN, the “Battle of the Nibelungs”), a mixed martial arts competition catering to far-right fighters and fans from around Europe. The event attracted 850 spectators in 2018 and was one of the biggest MMA competitions in Europe. It was banned in 2019, and organizers were prevented from live-streaming KdN fights in 2020, but it may yet resurface in 2021.

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      Symbols and allusions to the Nibelungenlied sadly will persist amid Germany’s far-right scene. This symbolism has a long history of co-option by extremists. Even though the chords of Wagner’s operas are not anti-Semitic, their endorsement by the Nazi regime touched Nibelung lore with an association that inescapably appeals to the far right. Yet references to the Nibelungenlied are more than far-right supporters’ fetishization of a twisted version of German cultural history. They form a part of the vast book of codes used by far-right actors to communicate. Cracking these is often the key to decoding how the far right organizes, mobilizes and ultimately understands the world in which it operates.

      *[Fair Observer is a media partner of the Centre for Analysis of the Radical Right.]

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More

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      The Musical Is Political: Black Metal and the Extreme Right

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      There has been an association between the occult, paganism and the extreme right ever since the evolution of the National Socialist German Workers’ Party from the Thule Society. In the last few years, however, commentators are noting the return to prominence of racist occultism and heathenry among the far right and have called for some of these groupuscles, such as the Order of Nine Angles, to be banned. The majority of mainstream liberal heathen groups are similarly concerned about the manner in which their contemporary religion is being appropriated by the extreme right and are organizing to resist.

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      What is particularly disturbing is the recognition that many recent violent crimes perpetrated by the extreme right seem to be connected or influenced by such worldviews. Anders Breivik, responsible for bombings and the shooting of 77 people in Norway in 2011, identifies as an Odinist. James Alex Field, arrested for the murder of Heather Heyer in Charlottesville, Virginia, in 2017, marched alongside a flag depicting the black sun, a Nazi symbol drawing directly on Germanic heathen Ariosophic imagery, which in turn had inspired the formation of the Thule Society.

      This same black sun emblem appeared on the front and last pages of the manifesto of the Christchurch mass murderer in March 2019. The manifesto ended with the clarion call: “see you in Valhalla.” In the UK, Thomas Mair, who murdered West Yorkshire MP Jo Cox, was reported as being influenced by racist Ariosophic literature too.

      Gospel of Hate

      The internet, the dark web, online gaming forums and encrypted messaging services are frequently accused of helping to spread this gospel of hate. Thus, some academics, such as Steven Woodbridge, have cautioned of the need to watch the uses of “historical themes, imagery and language” that are used in these forums to promote their particular brand of violent political discourse. One of these potential memes is black metal music and its offshoot, national socialist black metal (NSBM). Indeed, Nicholas Goodrick-Clarke, in “Black Sun: Aryan Cults, Esoteric Nazism, and the Politics of Identity,” states that black metal and its “fascination with the occult, evil, Nazism and Hitler” were a possible motivation behind the 1999 massacre, on Hitler’s birthday, of 12 students and a teacher at Columbine High School in Colorado.

      Black metal is also associated with a series of church burnings across Norway in the 1990s by Varg Vikernes, a racist heathen and black metal musician. More recently, it was reported that Holden Matthew, the 21-year-old charged with burning down three black churches in Louisiana, was also influenced by black metal and held racist heathen beliefs. Some of black metal’s aesthetics even appear to have influenced the violent imaginary of the neo-Nazi Atomwaffen Division. Plato may have been correct when he warned “about the interconnectivity of politics and music.”

      Black metal is an extreme genre of heavy metal that first emerged in the UK with the band Venom. The subgenre took its name from the title of Venom’s second album, “Black Metal,” released in 1982. It was intended as a rejection of the commercialization of heavy metal as well as a critique of modern secular society. A second wave of the movement, which was more ideological in orientation and often emphasized Satanism or paganism, became infamous for promoting a series of church burnings. It emerged primarily in Norway in the 1990s and is exemplified by such bands as Burzum.

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      This Norwegian second wave helped to popularize the genre even further and led to the creation of other black metal bands across Europe and the globe. So influential has this genre now become that one commentator said that “black metal has arguably become Norway’s greatest cultural export.”

      Karl Spracklin defines black metal as “a form of extreme metal typified by evil sounds and elitist ideologies,” with a number of bands drawing on “nationalist and fascist images and themes.” Its sound is generally characterized by shrieking and growling vocals, disjointed guitar riffs, a frenetic pace and an emphasis on atmosphere, often deliberately created through the implementation of a raw, lo-fi quality of the recording. Many black metal performers tend to adopt pseudonyms and dress in a kind of Kiss-inspired corpse paint. Upside-down crucifixes and medieval weaponry, alongside Satanic and pagan imagery, additionally appear with relative frequency on black metal websites, CD covers and tattoos.

      Other common musical and visual leitmotifs include war, death, fantasy, the apocalyptic and the mythological. Norwegian Satanic black metal band Gorgoroth, for example, took the inspiration for its name from a fictional setting in Tolkien’s land of Mordor. Although such motifs might be viewed as deliberately transgressive in order to attract devotees, some have suggested that black metal practitioners also intend the genre to function “as a springboard from which violent actions could logically emerge” with the specific intent of “reclaiming … a pagan heritage.”

      National Socialist Black Metal

      Defenders of the genre, however, argue that it “is not a unified, monolithic culture” and that accusations of violence are too frequently “fabricated by conservative groups seeking to impose their own moral agendas.” Indeed, bands such as the Rolling Stones and Eagles have been linked erroneously with a Satanic agenda as early as the late 1960s. Cronos of Venom also denies outright any religious affiliations, stating: “We are entertainers first and foremost — if I wanted to be a murderer or a Satanist, I’d do that full time instead of playing songs for a living.”

      The genre is notoriously difficult to define, with a litany of subgenre offshoots, including unblack/Christian, depressive suicidal and ambient black metal, to name but a few extreme variants. Black metal followers also argue, in their defense, that the music is primarily mystical, celebrating a romantic and idealized view of the past which is heavy on ritual and critical of secularism. Aron Weaver, of the US black metal and heathen-inspired band Wolves in the Throne Room, describes it “as an artistic movement that is critiquing modernity on a fundamental level, saying that the modern world view is missing something.”

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      Some contemporary UK black metal bands, such as Winterfylleth, while admitting that their “musical influence … unashamedly borrows from Burzum” and other black metal bands of an extremist predisposition, say that they do “not necessarily” believe the message behind those bands. A number of black metal followers would agree, as Spracklin points out, with many fans making “a distinction between the sound and the ideologies.” There are also heathen black metal bands, such as Norway’s Enslaved, that are avowedly anti-Satanic and anti-fascist.

      Some black metal musicians are openly Satanist but reject Nazism. King ov Hell, who played in Gorgoroth, states that “I am totally against every form of flock ideology. Nazism is an ideology of the flock.” There is even a countermovement against Nazism within the black metal music scene, evidenced by the US-based band Neckbeard Deathcamp and its 2018 album, “White Nationalism is for Basement Dwelling Losers.” The latter is a satirical critique the NSBM subgenre, which is avowedly pro-Nazi.

      Black Metal Against Racism

      While it is important to point out that national socialist black metal remains a minority element within black metal, signs of far-right extremism similarly contaminate related musical genres such as goth, industrial and neofolk. The latter incorporates elements of traditional European folk and reconstructed medieval instruments, exemplified by such bands as Fire, Sol Invictus and Death in June. The latter take their name from the Night of the Long Knives, when Hitler arranged the murder of his rivals in the Sturmabteilung critical of his policies. Nazi imagery, including the death head worn by the SS, is a consistent theme on their album covers, as are such Germanic runes like Algiz and Odal that were appropriated by neo-Nazis into their blood-and-soil ideology.

      According to one Death in June fan on Nordic Elite in a post now removed, “European Civilisation … is going down the drain with the jewish/American mulicultural invasion.” But in the neofolk scene, too, there are recently established bands that are explicitly anti-racist and who reach a much larger, liberal audience. The band Heilung, for instance, recently issued a statement on the alleged harassment of a black woman at a performance in New York: “Apparently some people attended our ritual with the idea that Heilung is only for white people … This is not the case. Heilung is for ALL people, regardless of the color of the skin. And we are sorry that this happened at our show. We do not tolerate hate speech and racism.”

      The neofolk band Wardruna, the authors of the soundtrack to the History Channel series “Vikings,” has made prominent anti-racist statements. In a blog promoting “antifascist neofolk bands from around the world,” the band’s lead singer, Einar Selvik, states: “It is a very positive effect, that increased interest does not allow the subculture on the extreme right wing to use our history in peace. We have somehow taken our own story back.”

      Embed from Getty Images

      Whilst outright extremism in the neofolk, black metal and related music scenes is not the norm, it is important to address this problem as well as to draw attention to instances in which such prejudice is less explicit. The Manchester-based Winterfylleth may denounce Nazism by labeling it “the first attempt at some kind of tyrannical EU,” but their critique of extremist politics is reserved. Note that they were “not necessarily” believers in national socialism — this is far from outright rejection.

      Winterfylleth are overtly nationalistic and “unashamedly Anglo-Saxon in their approach” to their music, expressing a particular concern about a loss of national English identity. Hence their recent turn from black metal to a more lyrical folk black metal style, evidenced by their 2018 song “The Hallowing of Heirdom” with its melancholic refrain, “So who are we now?” Fandom comments on the latter signify an ambiguous range of responses to their politics and new musical direction, from the negative (“its like countryfile meets the druids”), to the more enthusiastic (“Celebrate that you are English… hail Woden”).

      Another English pagan metal or folk metal band, Forefather, like Winterfylleth also celebrates its Anglo-Saxon roots. Intriguingly, with these UK bands, a broadly Germanic influence has become explicitly rooted more in specific English heathen blood-and-soil themes, exemplified in songs such as “When Our England Died.” Fan comments tend to praise the greatness of Anglo-Saxon culture and critique other foreign elements.

      Beyond the Footnote

      Given that not all black metal fans are fascists or Satanists, that many are simply intrigued by the genre’s ability to shock and entertain, and that some are genuinely attracted to the genre for its interest in ancient heathen religion, an even more specific blood-and-soil subgenre emerged from within black metal, the NSBM. National socialist black metal aimed to specifically distinguish its politics and religiosity much more clearly than black metal. It mixes extreme-right racism with paganism, is explicit in its rejection of Judaism, Christianity and Islam, and was very much influenced in its development by the actions of Varg Vikernes. It is also violent, exemplified by the German NSBM band Absurd and their killing of a 15-year-old boy, which they also then referenced on the cover of their 1995 album, “Thuringian Pagan Madness.”

      According to Benjamin Hedge Olson, NSBM “reskins the classical fascist ideological elements and combines them with racist and ethnic Paganism.” Critics state that NSMB is deliberately being utilized “as a vehicle to spread hate and radicalize nominally apolitical metal fans.” While many of these NSBM bands appear to be primarily Ukrainian and Scandinavian, the subgenre has become global. According to Celan Brill-Voelkle, “When the keywords ‘national socialism’ are searched in ‘the metal archives’, there are an astounding 774 results of active bands worldwide.”

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      Ian Stuart Donaldson, former lead singer of the English Nazi rock band Skrewdriver, once stated that “A pamphlet is read only once, but a song is learnt by heart and repeated a thousand times.” Given their global reach and violent messaging, NSBM and other extremist elements within black metal can be seen to promote “paganism and Nordic folk myths … far more effectively than any number of meetings and marches could.” While others have commented on the way in which Christian nationalists are trying to infiltrate and influence mainstream Christian groups “in order to pull Christians to the far right,” there is an urgent need to monitor more closely a similar development within heathenry.

      The black metal genre, alongside the existence of extremist racist heathen groups such as the O9A, is interesting for another theoretical reason too. It reinforces the conclusion made by Graham Macklin more than 15 years ago that if scholars of the far right in the UK look beyond a traditional narrow political lens, they will see that a study of fascism in Britain, given its wide cultural influence, deserves more than a mere epilogue or footnote in the history books.

      *[Fair Observer is a media partner of the Centre for Analysis of the Radical Right.]

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More

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      Reign of Terror review: from 9/11 to Trump by way of Snowden and Iraq

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      BooksReign of Terror review: from 9/11 to Trump by way of Snowden and IraqSpencer Ackerman, once of the Guardian, displays a masterful command of the facts but sometimes lets his prejudice show Lloyd GreenSun 8 Aug 2021 02.00 EDTLast modified on Sun 8 Aug 2021 02.01 EDTThis 11 September will be the 20th anniversary of the attacks on the World Trade Center and the Pentagon and the crash of Flight 93. Two wars have left 6,700 Americans dead and more than 53,000 wounded. After the Trump presidency, America roils in a cold civil war. In Afghanistan, the Taliban is on the move again. Saddam Hussein is dead and gone but Iraq remains “not free”.‘A madman with millions of followers’: what the new Trump books tell usRead moreIn other words, the war on terror has produced little for the US to brag about. In an April Pew poll, two-thirds of respondents rated international terror as a “big” problem, albeit one that trailed healthcare, Covid, unemployment and 10 more.Against this bleak backdrop, Spencer Ackerman delivers his first book under the subtitle “How the 9/11 Era Destabilized America and Produced Trump”. It is part-chronicle, part-polemic. The author’s anger is understandable, to a point.Ackerman displays a masterful command of facts. No surprise. In 2014, he was part of the Guardian team that won a Pulitzer for reporting on Edward Snowden’s leaks about the National Security Agency.Ackerman stuck with the topic. A contributing editor at the Daily Beast, he has also been its senior national security writer. Ackerman is fluent in discussing the so-called security state, and how it is a creature of both political parties.In the face of Snowden’s revelations, congressional leaders came out for the status quo. According to Harry Reid, then the Democratic Senate majority leader, senators who complained about being left in the dark about the NSA had only themselves to blame. All other Americans were to sit down and shut up.Nancy Pelosi, then House minority leader and a persistent critic of the Patriot Act, a chief vehicle for surveillance powers, declined to criticize Barack Obama or high-tech intrusion in general. Instead, she called for Snowden’s prosecution. He made Russia his home.Ackerman notes that the American Civil Liberties Union and Rand Paul, Kentucky’s junior senator, were notable exceptions to the rule. At the time, Paul remarked: “When you collect it from a billion phone calls a day, even if you say you’re going to keep the name private, the possibility for abuse is enormous.”Ackerman also shines a light on how the far right played an outsized role in domestic terrorism before and after 9/11, reminding us of Timothy McVeigh and the Oklahoma City bombing, teasing out McVeigh’s ties to other white nationalists.The attack on the US Capitol on 6 January this year is one more chapter in the story. Trump falsely claimed Antifa, leftwing radicals, were the real culprits. The roster of those under indictment reveals a very different story.In congressional testimony in April, Merrick Garland, the attorney general, and Alejandro Mayorkas, the homeland security secretary, described “racially or ethnically motivated violent extremists” as the greatest domestic threat. Garland also singled out “those who advocate for the superiority of the white race”.Chad Wolf, Trump’s acting homeland security chief, made a similar point last fall. Of course, his boss wasn’t listening.Ackerman delves meticulously into the blowback resulting from the war on terror. Unfortunately, he downplays how the grudges and enmities of the old country have been magnified by key social forces, immigration chief among them.Joe Biden, then vice-president, condemned the Boston Marathon bombers as “knock-off jihadists”. But Dzhokhar and Tamerlan Tsarnaev had received asylum. The immigrant population stands near a record high and the US fertility rate is in retrograde. On the right, that is a combustible combination. When Tucker Carlson is in Hungary, singing the praises of Viktor Orbán, the past is never too far away.In his effort to draw as straight a line as possible between the war on terror and the rise of Trump, Ackerman can overplay his hand. Racism, nativism and disdain for the other were not the sole drivers of Trump’s win, much as Islamophobia was not the sole cause of the Iraq war, a conflict Ackerman acknowledges he initially supported.Trump’s victory was also about an uneven economic recovery and, when it came to America’s wars, who did the fighting and dying. Overwhelmingly, it wasn’t the offspring of coastal elites. In 2016, there was a notable correlation between battlefield casualties and support for Trump.According to Douglas L Kriner of Boston University and Francis X Shen of the University of Minnesota, “Wisconsin, Pennsylvania and Michigan could very well have been winners for [Hillary] Clinton if their war casualties were lower.” Residents of red states are more than 20% more likely to join the military. Denizens of blue America punch way above their weight when it comes to going to college.Ackerman, a graduate of New York’s hyper-meritocratic Bronx High School of Science, bares his own class prejudices much in the way Clinton did at a notorious Wall Street fundraiser. Hillary dunked on the “Deplorables”. Ackerman goes after those he sees as socially undesirable.In his telling, Trump is “an amalgam of no less than four of the worst kinds of New Yorkers”. According to his taxonomy, those are “outer-borough whites”, wealth vampires, dignity-free media strivers and landlords.I Alone Can Fix It: Carol Leonnig and Philip Rucker on their Trump bestsellerRead moreThis year, many of those “outer-borough whites” voted for a Black candidate, Eric Adams, in the Democratic mayoral primary. Adams, Brooklyn’s borough president, is a former police captain.The real estate industry is a critical part of the city economy. Strivers have been here since the Dutch came onshore. As for “wealth vampires” – come on, really?The city’s economy reels. Murder is way up. Law and order matters. Ackerman’s disdain is misdirected.Nationally, the security state is not going to just disappear. But not all is gloom and doom. In a break with Obama and Trump, the Biden White House has pledged to no longer go gunning for reporters over leaks.The US is leaving Afghanistan. Unlike Trump, Biden was not dissuaded. And last Wednesday, the Senate foreign relations committee voted to end the 1991 and 2002 authorizations of use of military force in Iraq. Even the leviathan can budge.TopicsBooksSeptember 11 2001Donald TrumpTrump administrationUS politicsRepublicansDemocratsreviewsReuse this content More

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      Why Headscarves Matter So Much to Turkey

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      Many news outlets carried stories in mid-July of the Turkish government’s condemnation of a ruling by the European Court of Justice (ECJ) upholding a ban on headscarves in certain circumstances, in which an employer wishes to convey a “neutral image.” In doing so, it is weighing into the culture wars over religious symbolism that Europeans will all be well aware of. Many European countries, in particular France, have seen high-profile clashes over the issue of religious symbols in state institutions.

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      Many readers would see Turkey’s condemnation as a simple case of an Islamist regime railing against Western suppression of Islam. Indeed, the government’s statement was full of accusations of Islamophobia in Europe. Yet such statements, coming out of Turkey, are not as simple as that.

      Those same readers might be surprised to discover that Turkey itself had banned headscarves in state institutions until very recently. This might make a governmental condemnation of a ban in Europe seem nonsensical. The reality helps to give context to the Turkish reaction.

      Wear Western Hats

      Condemnations of headscarf bans might ordinarily be expected to emanate from regimes such as the Iranian theocracy or the Saudi conservative monarchy. Coming out of the secular republic of Turkey, they might appear more curious, if it wasn’t for President Recep Tayyip Erdogan’s global image as a religious conservative.

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      His government’s sensitivity to headscarf bans is very personal indeed. In 2006, his own and other politicians’ wives were not invited to an official event by the then-Turkish president, Ahmet Necdet Sezer, due to their wearing of headscarves. In 2007, there was an attempt by the military — a traditional guardian of Turkey’s ruling secular elite — to deny the presidency to Abdullah Gul of the ruling Justice and Development Party (AKP) because his wife wore a headscarf.

      Such attitudes, which might appear highly intolerant in countries such as the United Kingdom, make more sense in places like France where the separation of church and state is a foundation of the republic. When modern Turkey was created in 1920, France became the model for how to build a modern state. A key element in the imitation of the French was the desire of Turkey’s first military rulers to suppress Islam.

      The Ottoman Empire, of which Turkey was the successor state, was an Islamic empire. Indeed, it was ruled by a caliph, the Islamic equivalent of the pope in Rome. The caliph was the leader of the Muslim world. Turning Turkey into a modern secular republic was akin to removing the pope from the Vatican and banning the wearing of the Christian cross in Catholic Europe. Needless to say, it has created cultural fault lines in Turkey that persist to this day.

      To drive home his cultural revolution in the 1920s and 1930s, modern Turkey’s founder, Mustafa Kemal Ataturk, instituted a ban on the fez — that most famously Turkish of hats — and the turban. He insisted on men wearing the Western brimmed hat, traditionally rejected since it doesn’t allow the wearer to bow their head to the floor in Muslim prayer whilst wearing it.

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      The veil and headscarf were also discouraged, though the state’s ability to enforce changes in female clothing was slower to be realized than with men’s. The persistence of female cultural clothing as opposed to male could be the subject of an entire essay of its own.

      Alongside many other measures, such as the banning of the Sufi Muslim brotherhoods, the closure of mosques, a ban on the call to prayer in Arabic and the removal of the Arabic script, the Turkish authorities attempted to forcibly Westernize Turks.

      The Illiberal 1980s

      Yet it was not until the military coup d’état of 1980 that Turkey finally outlawed the headscarf officially. It was then that it was banned across all state institutions, including schools, universities, the judiciary, the police and the military. In effect, this meant that girls from religious backgrounds had to choose either to remove their headscarves or not get an education. Only with the rise of the AKP to power in the 2000s did official attitudes begin to shift.

      In 2010, Turkish universities finally admitted women who wore headscarves. This was followed a few years later by state bureaucratic institutions, except the judiciary, military and police. In 2016, policewomen were allowed to wear headscarves beneath their caps, and finally in 2017, the military was the last institution to lift the ban.

      This is the backdrop against which the Turkish government condemns a headscarf ban — in certain circumstances — decreed by the ECJ. It is a backdrop in which the religiously conservative in Turkey read a narrative of European coercion running back to the founding of the modern state and even earlier.

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      The ideas that inspired the military officers who won the Turkish War of Independence — the war with Allied powers that followed the conclusion of the First World War — were imported from Western Europe. Having carved out an almost entirely religiously homogenous Muslim state, they set out to utterly secularize it.

      The banning of the headscarf is therefore seen by religiously conservative Turks as an idea imported from Europe and, in some sense, an idea dictated to Muslims by secularized Christian nations. Given the last century of experience in Turkey, it is clear how this view is generated.

      Ultimately, the question is one of whether people who like the use of headscarves should tolerate those who don’t wear them, and whether those who dislike the use of headscarves should tolerate those who do wear them. Examples of intolerance abound on either side. A lack of understanding will bring no peace to Turkey or to countries across Europe and the world.

      The views expressed in this article are the author’s own and do not necessarily reflect Fair Observer’s editorial policy. More