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      in Elections

      Adams Is Keeping a Low Profile as Election Day Nears

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      It’s Thursday. We’ll look at how Eric Adams, the likely next mayor, has been keeping a low profile. And a rockabilly star is getting his distinctive black-and-pink bass back, 39 years after it was stolen.Hilary Swift for The New York TimesWhere in the world is Eric Adams, the Democratic candidate for mayor?My colleague Katie Glueck writes that Adams’s team sometimes leaves reporters guessing about how he spends his time — in contrast to elected officials like Gov. Kathy Hochul. Her aides send out daily schedules listing everything from ribbon-cuttings and parades to news briefings.Such schedules can be an essential tool for the editors and news directors planning coverage as they decide where to send reporters or crews — and thus how to inform readers, listeners or viewers.For elected officials, the announcements capitalize on their incumbency, keeping them in the public eye even when they do not make headlines. For a campaign not to do everything it can to publicize a candidate’s schedule is a departure from the way other politicians engage with the press and the public, not just in New York but also nationally.But as of Tuesday, with Election Day three weeks away, Adams’s campaign had released no more than five public schedules in October. His one planned appearance last weekend was in his capacity as the Brooklyn borough president — a visit to the Federation of Italian-American Organizations of Brooklyn.On Monday, Hochul and Mayor Bill de Blasio both marched in the Columbus Day parade, as their schedules had said they would. But Adams did not, and his whereabouts remain unknown. A spokesman said he was organizing with volunteers. His campaign released no public schedule that day. By contrast, Curtis Sliwa, the long-shot Republican candidate, has issued a public events schedule almost every day this month.Adams recently said in an interview with NY1 that he was participating in 13 events a day and canvassing until 1 a.m. Asked for a snapshot of Adams’s full schedule in recent weeks, a campaign spokesman, Evan Thies, did not provide one, instead offering a list of 21 public events that he said Adams had attended since Labor Day, some as a candidate, some as the borough president.Neither his campaign nor his government office sent word in advance about many of those events. Adams’s campaign said he had also attended events with volunteers and voters that were not on the list.This is not the first time Adams has faced questions about details of his schedule: His team had declined to say where he spent some vacation time this summer (Monaco, according to Politico).While most candidates do not publicize every detail of their days, the scattershot way in which Adams’s team has communicated his activities has made it difficult to gauge the full extent of his engagement with the campaign. Adams, long a highly visible fixture in Brooklyn, has frequently shown up at community and political gatherings in appearances that his campaign did not advertise. But clearly he has not been hitting the trail each day in the final month of the contest.In October 2013, the last month of the last open-seat mayoral race, de Blasio was hardly barnstorming the five boroughs day after day. But he released a near-daily public schedule of events as he rolled out endorsements, marched in parades and delivered speeches.Adams and his team reject any suggestion that his schedule is anything less than full — even if they do not always send it out. “Eric is working hard from early in the morning until very late at night,” Thies said, adding that the candidate is meeting voters and volunteers “and holding events to ensure the working people who support him win on Election Day.”“He is also spending significant time preparing to be mayor should he be successful on Nov. 2, meeting with government, nonprofit and business leaders to ensure he is ready to lead New York,” Thies added.WeatherWe’re having a heat wave — for October — but it’s not a tropical heat wave. The warm air that will push temps into the mid-70s is not coming from that far away. We’ll have another partly cloudy evening in the mid-60s.alternate-side parkingIn effect until Nov. 1 (All Saints Day).The latest New York newsKatrina Brownlee was abused, shot and left for dead. Told she’d never walk again, she went on to have a 20-year career with the N.Y.P.D.Margaret Garnett, the commissioner of the New York City agency responsible for rooting out corruption in local government, will leave her post. She will become the No. 2 official in the U.S. attorney’s office in Manhattan.The $2.1 Billion La Guardia AirTrain project is on hold after Gov. Kathy Hochul called for a review of alternatives. The AirTrain was a favorite of her predecessor, Andrew Cuomo.Return to previous owner: A bass stolen in 1982Hiroko Masuike/The New York TimesNot quite 40 years later, Smutty Smiff is getting his bass back — the shiny black one with “SMUTTY” printed in pink letters across the bottom.To recap: One night in 1982, a van loaded with all the instruments of the Rockats, the pre-eminent rockabilly band of the downtown New York music scene, was stolen outside a diner near the Holland Tunnel. Among the missing gear was the bass.This summer, someone who remembered the Rockats noticed the bass in a Jersey City pawnshop and posted a picture on Facebook. The bass was not for sale — the pawnshop owner, Manny Vidal, a bass player himself at the time, had traded his own electric bass for it not long after the van disappeared, unaware that he was getting stolen goods.The Times published a story about it last week, and on Monday, the pawnshop owner decided to return the bass to Smutty, who lives in Iceland and called our writer Helene Stapinski from the homeless shelter in Reykjavik where he now works. The band’s guitarist, Barry Ryan, offered to pick up the instrument for safekeeping. Smutty decided not to have it shipped to Iceland — even though a GoFundMe page set up after the article appeared raised $3,000 — because the Rockats will be playing in New York next year.The outcome had “kind of restored my belief in humanity and karma,” Smutty said from Reykjavik. He said that he felt bad for Vidal, who became a target of social media posts and angry telephone calls, but had no hard feelings toward him.Ryan, whose Gretsch Country Gentleman guitar was stolen with the bass and rest of the Rockats’ gear in 1982, wants Vidal to keep his eye peeled. “If you see my Gretsch, give me a shout,” he said, “and we’ll start this story all over again.”What we’re readingViolent crime rates were up even as N.Y.P.D. officers logged more overtime hours than any other major city in the country, Bloomberg reports.During a sentencing hearing, the owner of a longtime Manhattan gallery acknowledged that much about his antiquities business was an elaborate scam.There are 274 streets listed in the Department of Transportation’s Open Streets program. Only 126 of them are functional, Gothamist reports.MetROPOLITAN diarySharingDear Diary:I ordered a ride-share car to take me back to the Upper West Side from Queens. When it showed up, to my delight, the first female driver I’d ever had was at the wheel.We soon made another stop to pick up an elegantly dressed woman. When she slipped into the car, the driver and I remarked on how wonderful she looked and asked whether it was a special occasion.“It’s my first date after my divorce,” the woman said, acknowledging that she was nervous.Knowing our role in this moment, the driver and I expressed our confidence. The driver volunteered that she was about to get married again, 35 years after her first wedding. She said she had found someone who adored her.“You have to hold out for love!” she said.The attention then turned to me now.“Me?” I said. “I’m single. No one in my life at the moment.”The driver smiled at me in the rearview mirror:“No one yet,” she said, “but you’re in New York City, honey!”— Annie FoxIllustrated by Agnes Lee. Read more Metropolitan Diary here. Submit Your Metropolitan DiaryYour story must be connected to New York City and no longer than 300 words. An editor will contact you if your submission is being considered for publication.

      Glad we could get together here. See you tomorrow. — J.B.P.S. Here’s today’s Mini Crossword and Spelling Bee. You can find all our puzzles here.Melissa Guerrero, Rick Martinez and Olivia Parker contributed to New York Today. You can reach the team at nytoday@nytimes.com.Sign up here to get this newsletter in your inbox. More

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      in US Politics

      Tom Morello: ‘We came within a baby’s breath of a fascist coup in the US’

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      Rage Against the MachineInterviewTom Morello: ‘We came within a baby’s breath of a fascist coup in the US’Alexis Petridis Lockdown and ‘looking after the grandmas’ may have kept the Rage Against the Machine guitarist away from recent protests – but he refuses to be silencedSat 9 Oct 2021 09.00 EDTTom Morello has made more than 20 albums, as a founding member of Rage Against the Machine – the political rap-rock band who have sold 16m records, and whose 1992 track Killing in the Name has become a perennial protest anthem – and of the bands Audioslave and Prophets of Rage. He also plays solo under the name the Nightwatchman, and has toured with Bruce Springsteen’s E Street Band. His unique approach to the guitar, which he has self-deprecatingly described as “making R2-D2 noises”, has led to him regularly being voted as one of the greatest guitar players of all time. His latest album, The Atlas Underground Fire (released on 15 October), features a series of collaborations recorded in lockdown – with Springsteen, Eddie Vedder, Damian Marley and Bring Me the Horizon, among others. He is a celebrated “nonsectarian socialist” political activist, famed for performing at demonstrations – he played at Occupy events across the US and Europe – and a co-founder of the nonprofit “social justice” organisation Axis of Justice.You recorded your new album in lockdown. Did the pandemic also mean you missed out on the ongoing protests in the US?Not only was there a global plague to contend with, there was the US political situation and the white supremacy comeuppance, all happening at a time when I was locked down with my 97-year-old mom, my 90-year-old mother-in-law, and two kids going crazy trying to learn remotely. I was unable to be on the literal frontlines for the first time in my adult life, because I’m trying to keep the grandmas alive, you know. So in the middle of the George Floyd protests I recorded a song called Stand Up, with Imagine Dragons, the great trans soul singer Shea Diamond and Bloody Beetroots as well. I was trying, from the bunker, to contribute in any way I could. But you’re absolutely right: that’s my bread and butter. I’m at the front of that march for 30 years, and now, you know, there’s a plumbing problem, or one of my kids broke a window with a basketball, so that’s my dayEven though you weren’t physically present, Rage Against the Machine’s Killing in the Name was chanted at the Black Lives Matter protest in Portland, but it was also chanted by pro-Trump supporters in Philadelphia. How did that feel?First of all, there’s no accounting for stupidity. There’s a long list of radical left anthems that are misunderstood by bozos who sing them at events like that, from Woody Guthrie’s This Land Is Your Land to Bruce Springsteen’s Born in the USA to John Lennon’s Imagine – those people have really no idea what the hell they’re singing about. The one thing that I speak to in all of those instances is that there’s a power to the music that casts a wide net, and that’s a good thing, not a bad thing. In that net, there will be the far-right bozos, but there will also be people that have never considered the ideas put forward in those songs and are forced to consider those ideas because the rock’n’roll is great. You can either put a beat to a Noam Chomsky lecture – no one wants that, but there’s going to be no mistaking what the content is – or you can make music that’s compelling.So you don’t try to serve people with a cease-and-desist order when they misuse your music?When they were using Rage songs for torture in Guantánamo, we sued the state department, but no. My take is: “Go enjoy the rock’n’roll. You look like fools, but go enjoy the rock’n’roll.”How did you feel about the events of 6 January?We came within a baby’s breath of a fascist coup in this country. Interestingly, one of my dreams has always been to storm the Capitol, but not with a bunch of all-white, rightwing terrorists, you know? The ugliest part about it is how they have co-opted the idea of standing against the Man, at least in the US. There can be no nuanced thinking, like: “Yes, big pharma is horrible, but getting a vaccine to save your grandma is good.” It’s a dumbed-down version of resistance. But I grew up in Trump country [in suburban Illinois], I know people from there. They’re decent people. It’s not their fault for being fucked over by the oligarchy for decades. Now what do we do to find a way to really resist the stuff that is destroying the planet, that’s causing working people’s lives to be worse than their parents’ were? Poverty and hunger kill more people than anything else on the planet and they are human-made problems. Those are the things that we need to be digging into, rather than being sidetracked by this carnival barker bullshit.The opening track of your new album is called Harlem Hellfighters. You were born in Harlem – isn’t there a story that one of your ancestors helped found the New York mafia?The Harlem Hellfighters were an African-American military unit in both world wars. They were known for their bravery and then coming home and getting done over by racist Americans – their story is very compelling. But there was a Giuseppe Morello who was known as the Clutch Hand, who came from Sicily. He was one of the founders of one of the “five families”, and apparently not a pleasant chap. There may be some cousin-like links between me and him. He was short, had one hand that was really messed up and he got the job done by murdering people.He eventually met the end that a lot of people met in that line of work.The new album also features Eddie Vedder and Bruce Springsteen singing AC/DC’s Highway to Hell. How did that come about?We have history with that song, from when I toured with Bruce and the E Street Band. We were in Perth, [near] the home of [late AC/DC frontman] Bon Scott. One night, I went to pay my respects to his grave. I came back to the hotel and saw Bruce in the bar. Over the next couple of days, we started rehearsing Highway to Hell at soundchecks. We found ourselves in a Melbourne football stadium, playing to 80,000 people. Eddie happened to be in town. A lightbulb went off. I knocked on the dressing room door and said: “Bruce, we’re in Australia – Highway to Hell is like the unofficial national anthem. What if we open the show with it, with Eddie?” It was an apex moment in rock’n’roll history. If you think you’ve seen people go apeshit, you haven’t because you weren’t there that night.You recently appealed for help in getting a group of girls out of Afghanistan. What happened?Lanny Cordola, who was a member of the 80s metal band Giuffria, found the religion of love and moved to Afghanistan to help street kids. He took in these orphans and girls who had had tremendous trauma in their lives and started a school where they used music as a rehabilitation tool. He reached out to me and asked if I wanted to do a song with them, so we did a cover of Sweet Dreams (Are Made of This). I played the guitar solo. We became video friends – the girls would send birthday greetings, we’d send hellos. And then their world turned upside down. They’re marked. They were playing western music taught by an American teacher. Their school is destroyed. They’re in hiding right now. We were not able to get them out in the initial push, and now it’s just a matter of keeping them safe. There’s a lot of people who want to help, but as of right now, they’re still there. But they’re safe.During lockdown, you taught your son Roman to play guitar and he ended up collaborating with the 11-year-old drummer and internet sensation Nandi Bushell. How did that come about?They wrote the song, I produced it. Nandi is spectacular – an effervescent soul of joy that the world needs now more than ever. She called up and asked if I wanted to do a song, and I said: “I’d love to, but I’ve got a kid here who’s your age who really can take it from here!” So I said to Roman: “Throw some riffs at me, man”, and he came up with a couple of hot riffs. I put an arrangement together and sent it to Nandi, and asked her what she thought. She said: “It sounds epic!” like she does. And she wrote the lyrics and played the drums on it – she just murdered it, she’s so great. One of the best drummers in the world happens to be 11 years old! It was a reminder of why you started, you know? It was pure joy, pure excellence, pure rock’n’roll.You mentioned your mum earlier. You’ve said before that she’s the most radical member of your family …Yeah, it’s funny – in our discussions at the table, she’s taking positions that I’m just like: “Mom, really?” But that’s always been my household. When I went out into the world, I realised that not every household has these kind of internationalist ideas, the thought of always, always standing up for the person on the lowest rung of the ladder. We were in a middle-class, conservative, ethnically homogenous suburb. She was a teacher at the high school and she taught the kids about Cesar Chavez and the Grape Boycott, Malcolm X, anti-colonialist African studies. I assumed everybody’s mom was like that.She also set up the anti-censorship group Parents for Rock and Rap in the late 80s …Yeah! It was really where the rubber hit the road. She was in a conservative suburb that was trying to censor heavy metal and hip-hop, so that’s where you fight the fight. This was before Rage Against the Machine – nobody knew my name. She was always on some radio show with Ice-T.You’ve said in past interviews that there is a section of your fans who would prefer to deny that you’re Black. Why do you think it bothers them?That would be a better question for them than me, but it bothers them – oh, let me tell you, it does bother them. I think it’s cos it upsets the false narrative they have that music that sounds like mine can only be made by people who look like them. And then me and Slash pop up to say: “No!”Quick GuideSaturday magazine ShowThis article comes from Saturday, the new print magazine from the Guardian which combines the best features, culture, lifestyle and travel writing in one beautiful package. Available now in the UK and ROI.Photograph: GNMYou were criticised recently for your friendship with the rightwing rock star Ted Nugent. What on earth do you two talk about?I got asked to make a video for his 60th birthday. At that point, Ted had become this rightwing caricature, but I really loved his records back in the 70s, so I said yes. I took two tacks: “Things adolescent Tom Morello learned about the birds and the bees from Ted Nugent”, and “things you might be surprised to find Tom and Ted have in common” – like free speech and rock’n’roll. Anyway, he called me up afterwards and we had a discussion about it. People go fucking nuts when you say you’re friends with someone who has his views. I’m very happy to go toe-to-toe with Ted when he gets on his racist stuff, his misogynist stuff, his Trump stuff. I don’t know how often people cause Ted to abandon his opinions these days, but I believe that’s been the case on more than one occasion.The Atlas Underground Fire is released on 15 October on Mom + Pop records.TopicsRage Against the MachineMetalPop and rockUS Capitol attackUS politicsinterviewsReuse this content More

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      in World Politics

      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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      in World Politics

      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.

      The Far Right’s Alternative History

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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.”

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      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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      in US Politics

      Britney Spears: US House of Representatives introduce bill to end conservatorship abuse

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      Britney SpearsBritney Spears: US House of Representatives introduce bill to end conservatorship abuseInspired by Spears’ case, the Free Act would bring protection and oversight to a ‘broken system’ Laura SnapesWed 21 Jul 2021 05.31 EDTLast modified on Wed 21 Jul 2021 05.33 EDTBritney Spears’ fight to end her conservatorship has inspired a new bipartisan proposal in the US House of Representatives.The Freedom and Right to Emancipate from Exploitation (Free) Act would allow a person bound by a conservatorship to petition to replace their court-appointed private conservator with a public conservator, family member or private agent without having to prove abuse.The bill, introduced by Republican Nancy Mace and Democrat Charlie Crist, would offer state funding for case workers to oversee conservatorships. States accepting the funds would require case workers and public guardians to disclose their finances, as well as to provide annual reports on conservatorships.“Abusive conservatorships can be an unending nightmare, and tragically we don’t know how many people are being held captive against their will under the broken guardianship system,” said Crist. “Under the Free Act, we would free Britney along with the countless numbers of seniors and persons with disabilities being abused and exploited by the broken system.”“To see a woman like Britney Spears have her most basic human rights permanently stripped away from her under the guise of ‘protection’ should be illegal,” said Mace.In June, Spears petitioned a Los Angeles court to end the conservatorship that has controlled her personal life, career and finances since 2008. In her explosive testimony, she said she had been forced to work against her will, blocked from marrying and removing her IUD to have a baby, and from being driven by her boyfriend in his car.She accused her father, Jamie Spears – a co-conservator – of abuse and said that he and the team behind the conservatorship “should be in jail”.In response, Jamie Spears filed documents claiming that he has had no power over his daughter’s personal affairs for nearly two years, and asked the court to investigate “serious allegations regarding forced labor, forced medical treatment and therapy, improper medical care, and limitations on personal rights”. His lawyers also said that his daughter should have the “right to give informed consent for her own medical treatment”.On 30 June, a judge denied a request to remove Jamie Spears from the star’s conservatorship. The Bessemer Trust, the wealth management fund that oversees Spears’ finances, resigned on 2 July; her long-term manager Larry Rudolph followed suit four days later. Her court-appointed lawyer Samuel D Ingham asked to resign soon after.Britney Spears’ forced birth control has a long, dark history in the United States | Moira DoneganRead moreSpears won a small victory last week when the court allowed her to appoint her own representation for the first time in the history of her arrangement. Mathew Rosengart, a former federal prosecutor who has represented Steven Spielberg and Sean Penn, replaces Ingham.On 20 July, Rosengart said he is working “aggressively and expeditiously” to remove Jamie Spears as conservator “unless he resigns first”.Since her widely praised court appearance, Spears has continued to share details of her experiences under the conservatorship on her social media. She apologised to fans for “pretending to be OK” in her offbeat Instagram posts.In an Instagram post celebrating Rosengart’s appointment, Spears used the hashtag #FreeBritney for the first time. She later stated, “I’m not gonna be performing on any stages anytime soon with my dad handling what I wear, say, do, or think”.In her latest Instagram post, Spears wrote: “I think we all know that I will never be able to let go and fully move on until I’ve said all I needed to say … and I’m not even close !!!! I was told to stay quiet about things for so long and I finally feel like I’m just getting here 🕊️🕊️🕊️ !!!!”TopicsBritney SpearsUS politicsnewsReuse this content More

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      in US Politics

      Nashville review – Robert Altman’s country classic still sings

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      “This isn’t Dallas, it’s Nashville! SING!” The desperate speaker is rhinestone-suited old-time country singer Haven Hamilton, played by Henry Gibson, in this rereleased state-of-America ensemble classic from 1975, written by Joan Tewkesbury and directed by Robert Altman. The toupee-wearing star has just been shot in the arm by a lone gunman in the crowd at a political rally featuring wholesomely patriotic country music, and the crowd is on the verge of panic. Only soothing tunes will calm them, and eventually a sprightly number called It Don’t Worry Me finally gets them singing along, forgetting all about the murder attempt they’ve all just witnessed. (Like Scorsese’s Taxi Driver, from a year later, this is a movie that is attempting to deal with the trauma of the Kennedy assassination as much as, or more, than the Vietnam war.)It’s an appropriately sensational and bizarre set piece to close this unique film and, watching it again for the first time since its last revival 17 years ago, what strikes me is its complex attitude to country music itself. Nashville is of course the home of country, the home of the Grand Ole Opry; the music is not really ironised in this film, not mocked, even when the singers are at their most narcissistic and self-serving and when the songs are at their cheesiest – especially Hamilton’s toe-curling For the Sake of the Children, a mawkish song from a man to his mistress, piously saying he has to return to his marriage. The music, playing almost continuously, is the glue that holds the movie together. It may sound schmaltzy, but the city-slickers deriding it sound worse.This is Gerald Ford’s America, on the verge of the bicentennial in 1976 … an event everyone hopes will heal the agonies of Watergate. An independent presidential candidate is coming to Nashville, hoping to promote his new ideas: taxing churches, abolishing the electoral college, removing lawyers from government. But for some Kennedy lovers present, the final dismissal of Nixon just brings back unhappy memories of how Nixon actually won against Kennedy in Tennessee in 1960, and the Kennedy motif is an unhappy omen.So too is a public fainting fit suffered by the local country star Barbara Jean (Ronee Blakley), who has perhaps intuited the hysteria and anxiety in the air. Allen Garfield is great as her boorish husband-slash-manager Barnett. Geraldine Chaplin is insufferably patronising British journalist Opal, who has a fling with handsome singer Tom (Keith Carradine), who is also having an affair with Linnea (a superb Lily Tomlin), with whom Wade (Robert DoQui) is poignantly in love. Linnea is an unsatisfied married woman with hearing-impaired children whose sleazy husband Delbert (Ned Beatty) is working with visiting TV producer John Triplette (Michael Murphy) to set up a lucrative media-political deal. All these – and many more – characters’ lives crisscross, their dialogue overlapping in the middle-distance sound design while the candidate’s megaphone-van trundles around the city, blaring its choric political commentary, an ambient effect rather like the tannoy announcements in M*A*S*H.The film’s most brutal moment is the treatment of Sueleen Gay, the waitress and tone-deaf wannabe country star played by Gwen Welles, who is tricked by the unspeakable Delbert and Triplette into appearing on stage, purely because they want her to do a striptease for the braying good ol’ boys present. Poor Sueleen thinks they wanted to hear her sing. It’s an ugly moment of abuse and, perhaps tellingly, the band switch from wholesome country to traditional burlesque music for this humiliation.Altman’s control of this sprawling material is wonderful – though Tewkesbury’s screenwriting achievement should not be forgotten. This is the heart of the troubled mid-70s American zeitgeist: angry, sentimental, violent, comic, afraid. More

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      in UK Politics

      Success of government’s ‘culture recovery fund’ in doubt as festivals teeter on brink of collapse

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      The effectiveness of the government’s culture recovery fund has been called into question by a new report highlighting how music festivals are currently teetering on the brink of collapse.The Public Accounts Committee is calling for better support for live music events, which are in peril for a second year due to the lack of government-backed insurance in the event of pandemic-related cancellations.Concerns were also raised about whether freelancers and supply chains that are essential to the culture sector have been able to access support from the fund.In March, The Independent reported how many freelance workers in the live music industry such as tour managers and sound technicians had been forced to take on jobs as shelf-stackers in supermarkets to make ends meet.Chancellor of the Exchequer Rishi Sunak announced the £1.57bn support package, dubbed the “Culture Recovery Fund”, in July 2020. Its primary goal was to rescue 75 per cent of arts, culture and heritage institutions in the UK during lockdown. While the committee acknowledged the department’s efforts to support cultural organisations, it pointed out that there is a “survival threat” faced by Britain’s summer music festivals. In the past few months, Glastonbury, Download, Kendal Calling and Boomtown have all been forced to cancel their plans to go ahead in 2021.The government has ignored repeated calls to implement an insurance scheme so festivals have a safety net should they be forced to cancel due to Covid.In May, culture secretary Dowden told a DCMS committee meeting that the idea of a government-backed insurance scheme would only be explored once further lockdown restrictions lift, which will not be until 19 July, after Stage 4 of the government’s roadmap out of lockdown was delayed.With the original 19 June date in mind, Conservative MP Heather Wheeler said this would likely be “all too late” for organisers due to the months of planning required for festivals to take place.Enjoy unlimited access to 70 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trialSign up“This would have been a very cheap deal to have been done, because the government are confident that 21 June is D-Day… in which case, you didn’t need to spend any money on insurance,” she said. “But it’s too late for the planning for so many of these summer festivals. It’s just too late.”“We’ve probably lost another summer,” she added.Insurance companies are currently refusing to cover Covid-related cancellations, meaning festivals face massive financial losses and even risk bankruptcy if they are forced to cancel last-minute.Meg Hillier MP, Chair of the Public Accounts Committee, said in the report: “The pandemic has exposed just how poorly departments across Government understand the sectors that they oversee. DCMS was clear that it ‘would not save every organisation’ but we are concerned about the impact of Covid-19 on those organisations vital to the culture sector – sound engineers, lighting and technical support.“The government must urgently consider support other than cash, such as insurance indemnity or parts of the sector risk as second summer of forced inactivity with all the devastating consequences to their survival.”Ms Hillier said that the sector, known for “making the show go on”, had been “hammered” by the pandemic and brought almost to a complete standstill for most of the past 15 months.“If the pandemic is allowed to steal a significant part of our creative and cultural sector it will have impoverished us indeed,” she said.The committee is recommending that the department should respond to its report within three months with details of how it plans to secure “longer-term value for money” with the cultural recovery fund, and what it intends to do to support overlooked members of the industry, such as festivals and freelance workers.The Independent has contacted the DCMS for comment. More

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      Selena Gomez calls out Boris Johnson over surplus vaccine pledge

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      Selena Gomez has tweeted at Boris Johnson criticising him over his announcement that the UK will have donated five million surplus doses of coronavirus vaccines by September. On Thursday 10 June, the prime minister said the UK will begin donating vaccines to poorer countries in the next few weeks. Five million doses will be given by the UK by the end of September, with a further 25 million donated by the end of the year. “[Boris Johnson], five million doses by September is too little too late,” Gomez wrote on Twitter, tagging the PM’s account. “You promised Britain would donate ALL its surplus vaccines.” The pop star and actor then addressed her followers: “Ahead of the #G7 summit in Cornwall, call on the PM to help meet one billion doses.”Gomez linked to a Global Citizen petition calling on Johnson to “act now”.“As a result of the success of the UK’s vaccine programme we are now in a position to share some of our surplus doses with those who need them.” Johnson said in a statement made ahead of the G7 summit in Cornwall. “In doing so we will take a massive step towards beating this pandemic for good.”US president Joe Biden has pledged that 500 million doses of Pfizer vaccines will go to 92 low and middle-income countries and the African Union.Earlier in the week, stars including Priyanka Chopra, Billie Eilish and David Beckham appealed to G7 leaders to donate 20 per cent of their vaccines to poorer nations.“The pandemic will not be over anywhere until it is over everywhere, and that means getting vaccines to every country, as quickly and equitably as possible,” they said in an open letter.“This weekend’s G7 Summit (11 to 13 June) is a vital opportunity for you to agree to the actions that will get vaccines where they are most needed, fast.”Gomez also signed the letter, along with fellow celebrities including Liam Payne, Olivia Colman, Orlando Bloom, Ewan McGregor and Lucy Liu. More