Reichsrock Reichsrock The International Web of White- Power and Neo- Nazi Hate Music KIRSTEN DYCK Rutgers University Press New Brunswick, New Jersey, and London Library of Congress Cataloging- in- Publication Data Names: Dyck, Kirsten, 1983- author. Title: Reichsrock : the international web of white- power and Neo- Nazi hate music / Kirsten Dyck. Description: New Brunswick, New Jersey : Rutgers University Press, [2016] | ©2016 | Includes bibliographical references and index. Identifiers: LCCN 2016003234| ISBN 9780813574714 (hardcover : alk. paper) | ISBN 9780813574707 (pbk. : alk. paper) | ISBN 9780813574721 (e- book (epub)) | ISBN 9780813574738 (e- book (web pdf)) Subjects: LCSH: Heavy metal (Music)— Social aspects. | Heavy metal (Music)— Political aspects. | Punk rock music— Social aspects. | Punk rock music— Political aspects. | White supremacy movements. | Neo- Nazism. | Hate groups. Classification: LCC ML3918.R63 D87 2016 | DDC 306.4/842— dc23 LC record available at http://lccn.loc.gov/2016003234 A British Cataloging- in- Publication record for this book is available from the British Library. Copyright © 2017 by Kirsten Dyck All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permis- sion from the publisher. Please contact Rutgers University Press, 106 Somerset Street, New Brunswick, NJ 08901. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. Visit our website: http:// rutgerspress .rutgers .edu Manufactured in the United States of America For my parents, Arthur and Suzanne Dyck, who have helped me to edit more drafts of this book than I reasonably should have asked them to read Contents Acknowledgments ix 1 What Is White- Power Music? 1 2 The History of White- Power Music in Britain 13 3 The History of White- Power Music in Continental Western Europe 34 4 The History of White- Power Music in Eastern Europe 76 5 The History of White- Power Music outside Europe 104 6 Conclusion 145 Notes 151 Select Bibliography 183 Select Recordings Cited 185 Index 189 vii Acknowledgments This book was made possible (in part) by funds granted to the author through a 2014 Cummings Foundation Fellowship at the Jack, Joseph and Morton Mandel Center for Advanced Holocaust Studies of the United States Holo- caust Memorial Museum. The statements made and views expressed, however, are solely the responsibility of the author. I am also grateful to the Emerging Scholars Program at the Mandel Center for Advanced Holocaust Studies for its support in the preparation of the manuscript and of the book proposal. I appreciate, in particular, the help of Steven Feldman from the Mandel Center, who helped me to revise my work and to connect with interested publishers. This book was also supported through a 2011– 2012 Fulbright grant from the German- American Fulbright Commission, as well as the former “Music, Con- flict and the State” research group at Georg- August- Universität Göttingen, which hosted me during my tenure as a Fulbright fellow. Many thanks both to Fulbright and to the members of the research group. In addition, I am thank- ful for the help of both the Auschwitz Jewish Center in Oświęcim, Poland and the Museum of Jewish Heritage in New York City for jointly awarding me a 2011 Auschwitz Jewish Center Fellowship. I owe an immense debt of gratitude to each of these institutions for their backing and encouragement. Also, thank you to Marlie Wasserman and the other staff members at Rut- gers University Press who believed in me, invested in my project, had patience with me, and helped me to turn my manuscript into a book. Their support especially includes soliciting feedback from anonymous peer reviewers, to whom I am grateful for comments that have helped me to strengthen this book immeasurably. I am also thankful for the guidance and research support I received from my doctoral dissertation committee in the Department of American Stud- ies at Washington State University— my dissertation supervisor, C. Richard ix x • Acknowledgments King, and committee members, David J. Leonard and John Streamas. Fur- thermore, I am beholden to my Fulbright project supervisor, M. J. Grant, not only for helping me to revise drafts of my work before, during, and after the period of my Fulbright grant, but also for helping me to network with Euro- pean scholars who were working on the subject of white- power music. I also appreciate the assistance of the mentors who helped me with the initial stages of this research project while I was a master’s student at York University, espe- cially my supervisor, Robert Simms, as well as Robert Witmer and Robert van der Bliek. Finally, I am grateful to the friends and relatives who have offered me emo- tional support and revision assistance with this project. Most importantly, I appreciate the help of my parents, Arthur and Suzanne Dyck, without whom none of this would have been possible. Also, a big thank you to Alex Parrish, who helped me to revise many preliminary drafts of this manuscript, as well as to John Niblett, who helped with the revision of the final draft. I deeply appre- ciate the hard work of all of these individuals.