Music and Rebellion

American Dissident Voices Broadcast of June 17, 2000
by Dr. William Pierce

Last year I got into the business of producing and distributing music. I
had a couple of reasons for doing so. A general reason is that I want to
continue to build my capability for communicating with the public
through every medium that can be used effectively for that purpose, and
music can be a very effective medium. A specific reason is that I wanted
a medium for communicating with alienated young Americans who listen to
a type of music known as “resistance music.” These young Americans have
grown up in multiculturalized America. They’ve been weaned on Jewish
television programming. They’ve gone to racially mixed schools and been
lied to by Politically Correct teachers about how everyone is “equal,”
about how we must all learn to get along with one another, that more and
more “diversity” and multiculturalism are the irresistible wave of the
future, and that no normal person should want to resist this wave anyway
because it’s good and, oh, so wonderful! The music these kids have heard
while growing up has been very heavy on rock, and the media bosses are
now phasing them into rap.

Instead of adapting to multiculturalism like good, little lemmings
should, however, these young people have rebelled. The multicultural
planners, the media bosses, have succeeded in alienating them, in
cutting them loose from their roots, but the media bosses have not
succeeded in making them like being uprooted; the Jews in Hollywood and
New York have not succeeded in making the kids like or accept
multiculturalism. The kids have rebelled in various ways that the
planners of America’s destruction simply didn’t count on.

The healthiest elements among these young people have responded to their
tribal instinct and have sought to reestablish their racial roots in one
way or another. Resistance music has played an important role in this
quest for roots and community and meaning. Some of the music expresses
very explicit defiance of those who have attempted to force the kids
into a multicultural life-style. It expresses anger against the
government. It expresses resentment against the Jewish planners behind
the government’s multicultural programs. It expresses hostility against
non-Whites and against everyone who is allied to the non-Whites; it is
fighting music. All of this music which expresses anger and resentment
and rebelliousness is properly called “resistance” music, and most —
though not all — of it belongs to the “rock” genre.

Back in the mid-1950s the Jews began inaugurating many of their programs
to multiculturalize America. One of these programs involved moving young
Whites away from traditionally White musical forms and replacing these
White musical forms with Black music. The most notable aspect of this
program was the use of singer Elvis Presley to popularize rock ‘n’ roll
among young White people. Before Elvis, rock ‘n’ roll was essentially a
Black musical form, with Black roots, Black performers, and Black
listeners. With their control of the popular-music industry and
broadcasting, the Jews were successful in their effort to drag rock ‘n’
roll across the color line, just as they are succeeding now in
popularizing another Black musical form — rap — among young Whites.

The Jews were so successful in popularizing rock among young Whites, in
fact, that the kids eventually began to think of it as their music: as
White music. Then young White musicians turned the tables on the Jews by
writing their own rock lyrics, and their lyrics were rebellious lyrics,
angry lyrics, defiant lyrics, lyrics which told the Jews, in effect, to
go to hell, that young Whites would not permit the Jews any longer to
force Whites to multiculturalize. The Jews responded by labeling the
music with these defiant lyrics “hate music.”

Despite the label, and despite the efforts of the Jews to suppress it by
denying it access to the mass media, resistance music continued to
attract new fans among young Whites. And the music evolved. The genre
broadened. Resistance lyrics were written for some country music. My
company, Resistance Records, sells this country music under the label
“Johnny Rebel.” Resistance music also incorporated other music from the
past which had nothing to do with rock. Resistance Records, for example,
also sells march music and other patriotic music from the very racially
conscious Third Reich. On the Internet you can see a listing of all of
the resistance music I distribute at

And all of this music, whether rock or country or German march music, is
denounced by the mass media as “hate music” so long as it shows any
trace of racial consciousness or resistance to multiculturalism. But as
I said a moment ago it was the healthiest elements among our young
people who gave expression to their tribal feeling in their music.
Others have expressed their alienation in different ways — in less
healthy ways. Some have rebelled against the unnatural environment of
multiculturalism without really understanding fully what they are
rebelling against. Instead of having a positive alternative to the Jews’
programs, they have simply rejected everything — or at least,
everything traditional. They have become nihilists.

Some have turned to Satanism as a way of expressing their anger against
the traditional world they feel has let them down, a multicultural world
in which they feel they have no place. Their music is full of Satanic
imagery and mumbo-jumbo . There are pentagrams and goat’s heads and
cabalistic characters from the Hebrew alphabet in the graphics
accompanying their music. Satanism is almost a parody of traditional
Judaeo-Christianity, with chanting and rituals and priestly hocus-pocus
and so on.

Satanic music should not be mistaken for pagan music. Pagan music is
much more serious music, and its purpose is not so much to express
resentment against Christianity as it is to give expression to the
healthy religious feelings of pre-Christian Europe and to express an
awareness of blood and soil and very deep racial roots. It is not
nihilistic, and it really belongs with the other positive forms of
resistance music: that is, with what the Jews denounce as “hate music.”

The nihilistic music, on the other hand, is fine with the Jews. They
would prefer, I believe, for everyone to be a good, little multicultural
lemming, but if one must rebel against that, then the rebellion should
take a nihilistic form. And of course, Satanism isn’t the only form of
nihilism. For example, there’s a whole category of rock music which is
called “Death Metal,” and let me tell you, it is very sick stuff. It is
totally hedonistic, like Satanic music — you know, everything goes; if
it feels good do it; you have no responsibility to anyone or anything
but yourself; nothing is sacred; nothing is worthy of respect; nothing
matters but your own personal pleasure. But Death Metal goes beyond
hedonism: far beyond it. It is music that glories in perversity, music
that seeks to defile, music that exalts sickness and unnaturalness and
pain and decay and destruction and death. Its lyrics deal with
cannibalism, with necrophilia, with bestiality, and with every other
perversion imaginable. Torture and mutilation are very common themes.
It’s morbid, twisted stuff.

The concerts put on by these nihilist musical groups are quite extreme.
They may involve people urinating or defecating on each other on stage.
Sexual intercourse of various types may take place in the background.
And real or simulated genital torture and mutilation may be part of the
show. I know a fellow who plays in a rock band called “Genitorturers.”
And that’s what they do: genital torture, live and on stage.

Now, you might wonder why I’m telling you about these things. First, I
want you to know that I don’t distribute such music and have no
intention of doing so. Everything produced or distributed by my company,
Resistance Records, is positive, healthy, racially oriented resistance
music: what the Jews call “hate music.” If the Jews hate it, I produce
it and distribute it; if the Jews like it, I have nothing to do with it.
But I do have two interests in nihilist music. My first interest is why
this sick music, this Satanic and Death Metal music, is increasingly
popular among young White people in America and in Europe. Why is it
attractive to so many young people? I have some ideas about that, and
I’ll share them with you in a moment.

My second interest in this sick music is the Jewish connection. I
mentioned that I know a fellow who plays in a Death Metal band. He sent
me a CD he had produced, complete with Satanist symbols in the
accompanying graphics for the jewel case. I was surprised to note that
the CD had a Time Warner copyright. Marilyn Manson is probably the
best-known performer in the Satanist music genre. His records are
distributed by Interscope, which is a property of Universal Studios,
which is owned by Jewish liquor-and-media billionaire Edgar Bronfman,
Jr. One obvious reason the Jews produce and promote and distribute this
sick music is simply greed. They pay to have it produced, they put their
labels on it, and they sell it in their big record stores in New York
and Los Angeles and San Francisco because they make money on it. An
appallingly large number of White teenagers are attracted to the stuff.

Well, greed is just one reason. It is not surprising that where there is
a market for something, the Jews will come crowding in and elbow
everyone else aside in their eagerness to grab the profit for
themselves. But why not try to make money from real resistance music
also? There’s a big, largely undeveloped market for that music too. Why
do they leave that market to me and focus their own efforts on the
necrophilia and Satanism and genital torture? They never permit any real
resistance music to be sold in the big record stores where they sell
their sick music.

You see, both resistance music and nihilist music, Death Metal music,
are in a sense rebel music, music which expresses a rejection of what we
might call the “mainstream” world. Resistance music fans reject the
mainstream world because it has been multiculturalized, because it no
longer is a White world, and they want to make it White again. Death
Metal fans reject the mainstream world simply because they have become
alienated and no longer have an attachment to anything but themselves.
The Jews attempt to suppress the former music and promote the latter.
And that fits right in with the general Jewish tendency: always promote
that which is destructive and destroy that which is healthy.

And if you doubt that Death Metal music is really destructive, then you
just haven’t been exposed to it. You’ve led too sheltered a life to
understand how much really nasty stuff is out there. Go to a Death Metal
concert sometime. Read the lyrics to a few Death Metal songs. In fact,
listen; I’ll read to you a few lines from one of the more popular
Satanist bands, Deicide. This is from a Deicide song called “Sacrificial

Lust into reality / Satan angel of the black abyss, / Satan lord I hail
/ Insane blasphemous — Satan / Sacrificial suicide, / Ritual to end
my life / Behemoth incess my fate — Satan / Damned to tell, end of my
life / Wrath of God — Satan / Sin my soul, blesses with fire / Throne
of stone — Satan / I must die, in my wake / Seventh gate — Satan /
Suicide, end my life / I must die — Satan / Suicide sacrifice, thrust
of evil deep inside / Lucifer never lies, take away thee mortal life /
Demigod, Satan son, commend to body to the ground / Father Satan, I’ll
find peace when I am God.

Well, of course, much of that is simply gibberish and non-words, but the
flavor is quite clear. The Jews understandably are a little shy about
publicizing their involvement in this stuff where middle-class parents
might find out about it and become alarmed. They’d just as soon you not
ponder too much on the involvement of Time Warner’s boss Gerald Levin or
Universal Studios boss Edgar Bronfman in the production and promotion of
Satanic music. But they’re certainly not shy about rubbing your kids’
noses in it. The Jews peddle this filth to confused White teenagers as
shamelessly as any Black crack dealer selling his poisonous wares on a
school playground.

I want to stress this point: the people promoting this filth are not
just sleazy, marginal Jews in trenchcoats fresh off the boat from
Russia. They are filthy-rich, billionaire Jewish media bosses,
respectable Jews, the leaders of the Jewish community, Jews who own
Hollywood film studios and arrive in long limousines at the White House
for state dinners and have every politician in the Congress in their
pockets. They are the Jews behind the multiculturalizing of America, the
Jews who planned forced racial integration and open borders and
Affirmative Action. They are the Jews whose programs have uprooted and
alienated millions of young, White Americans. They are the Jews who, in
response to the alienation and anger they themselves have caused, now
sell Satanic and Death Metal music to American teenagers. That’s an
example of what they proudly call chutzpah.

And now the other question: why do any White kids tolerate this filth?
Why is there a market for it? Why do 15-year-old White boys and girls
from good families listen to lyrics with very explicit descriptions of
sex with corpses? Why do they pay to go to concerts where they watch a
woman on stage having her genitalia sewed shut with a needle and thread,
to the screeching and thumping accompaniment of a rock band?

Part of the answer is obvious. Kids will do anything — and I mean
absolutely anything — which is fashionable. They will put safety pins
through their nipples or studs through their tongues without having a
clue as to what it’s all about, except that other kids in their peer
group are doing the same thing. If the Jewish media bosses promote it, a
substantial portion of the kids will do it without a second thought. And
really, Death Metal is no worse than the rap music that the Jews also
are promoting among young Whites. The young White lemmings, who are more
or less acclimated to multiculturalism, go for the rap. Alienated young
Whites without a clue tend toward the Death Metal. One advantage the
latter music has is that it will shock their parents, even liberal
parents, whereas liberal parents hardly can be shocked by rap without
running the risk of seeming to be racists.

There’s more than cluelessness and a desire to shock parents involved in
the growing popularity of Death Metal, however. The music reflects a
growing morbidity in the outlook of young White people. The growing
suicide rate among young Whites also reflects this. Alienation is not a
normal, healthy condition. When a large number of young people are
uprooted and no longer have a clear sense of identity or a clear sense
of belonging to a natural community, to a racial community, one should
not be surprised at the development of various pathologies, such as
hedonism and the fascination with death. One also should not be
surprised at the various forms of destructive behavior — especially
self-destructive behavior — which are becoming much more common among
young White people.

One should not make the mistake of blaming bad behavior on the music,
however. The kids who listen to this music already had problems. The
music is a symptom of their pathology, not the cause of it. The Jews
have destroyed their world, have cut them off from their roots, and that
is what the kids are reacting badly to, not the music. When a kid who
listens to Satanic or Death Metal music carves up a neighbor’s pet — or
his own little sister — in some sort of Satanic ritual, the music
didn’t make him do it; the Jewish media bosses and the politicians in
the government who destroyed his world with their multicultural programs
made him do it. And exactly the same thing can be said about White
teenagers who plan and carry out massacres at their schools. The
Columbine High School killers were Marilyn Manson fans, but Marilyn
Manson didn’t make them slaughter 13 people. Edgar Bronfman, Jr., who
sells Marilyn Manson’s music, made them do it: Edgar Bronfman, Jr., and
his fellow filthy-rich Jews, who consciously and deliberately, with
malice aforethought, planned the destruction of the White world we used
to have in America, where White teenagers could grow up with roots in a
healthy and natural way.

Perhaps you can understand now why I thought it worthwhile to talk with
you about the rather distasteful subject of Satanic and Death Metal
music. It’s not an obscure, underground little phenomenon. It’s big
business for the Jews who are pushing it. Time Warner and Universal
Studios don’t waste their time with little, underground phenomena. And
it is about as clear and unambiguous an indicator as you can find of
what is happening to our people, of the sickness that is overtaking us.
I want to rub your noses in it. I want you to smell the stink of death
that is in it. And I want you to understand who is behind it and why
they’re behind it.

You know, there are a lot of mainstream Christian preachers who have
railed against Satanic music from time to time, but not one of them has
breathed a word about the Jewish connection. Oh, my goodness, no! That
would be anti-Semitic! They would have you believe that this sickness
just sprang up of its own accord, out of nowhere, for no good reason.
And of course, if you approach it that way, it just doesn’t make sense.
It doesn’t seem real. You have to understand the Jewish connection
before you can take this sickness seriously.

I’m telling you that you’d better take it seriously. I’m telling you
that you’d better understand what it’s all about and how it fits in with
everything else that is happening these days.

And I want to give you some positive news too. The number of people who
listen to real resistance music — the positive, healthy kind of
resistance music that I produce and distribute — the kind the Jews call
“hate music,” is growing fast. One of these days soon there will be
enough of us to make some changes in this world. And by God, when that
day comes we’re going to have very little patience with the soft,
pampered middle-class folks who didn’t pay attention to what was
happening because they were too busy at the shopping mall or too busy
watching the ball game or too afraid of being labeled “haters” by the
Jews and their allies. The anger is building, the rage is building, and
it’s going to break loose.