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Introduction: Detailing the phenomenon of counterculture fascism, this broadcast is a supplement to FTRs 211, 222. In its pursuit of becoming a mass movement, fascism has traditionally turned to alienated and leftist elements in order to recruit street soldiers. (The “Northern” or “Strasserite” branch of the Nazi SA was such an element in the early Nazi party under Hitler.) Today, counterculture fascists are utilizing the alternative music and publishing scenes to recruit alienated individuals to their cause. The major focal point of the program is the book Lords of Chaos, published by Feral House. Co-authored by Michael Moynihan, a Satanist, blood fetishist and Nazi and fascist fellow traveler, the book is an expose of the black metal music scene. (Moynihan is pictured above, left.) At a deeper level, however, the work is something of a fascist recruiting/promoting mechanism–projecting Moynihan’s own far-right political ideology onto the black metal music scene as a whole. (Many—perhaps most– black metal fans are merely “party-on” types, and not necessarily fascists or rightists at all.) The broadcast sets forth Moynihan’s associations with, and promotion of, some truly evil, murderous fascists and Nazi/racists. Another central point of discussion is Moynihan’s long time friend, professional associate and ideological companion Adam Parfrey, the owner of Feral House and a significant presence on the alternative publishing scene. Coalescing in the Abraxas Foundation, an alternative music/occult/fascist/Social Darwinist think tank (their description), Parfrey, Moynihan and Boyd Rice have intertwined musical and political cultures with a counterculture fascist ideology. (Rice is pictured at right and above, with Nazi associate Robert Heick.) Parfrey’s significant and growing presence in the conspiracy publishing field is worth noting. Feral House political books–much of their inventory deals with cultural, not political, subjects–tend to be uneven: many volumes have excellent material mixed in with drivel, some of the books are quite good and others ludicrous and insane. What is important about the use of conspiracy theories in the context of a proto-fascist political view is the confusion that can result for those who come to realize that in fact, Lee Harvey Oswald did not kill Kennedy. This awareness may leave some in a relativistic political/intellectual universe. “Maybe the Holocaust didn’t happen!” In the era of the big lie, Parfrey and others who market some political truth mixed in with the vilest of fascist ideologies are truly dangerous and are sowing the seeds of doom.
Program Highlights Include: Parfrey/Moynihan/Rice’s professional and ideological association with (and promotion of) current and former American Nazis including James Mason, Michael Murray, Joseph Franklin, the wife of convicted murderer David Lane and convicted murderer Perry “Red” Warthan; the Abraxas contingent’s glorification of Charles Manson; the association between elements of Satanic religion and the Abraxas milieu; the association between elements of Odinist religion and the Abraxas/Feral House network; the overt glorification of murder and violence by the Abraxas/Feral House milieu; connections between the Moynihan/Parfrey/Rice milieu and paramilitary right-wingers such as Robert N. Taylor; the genesis of counterculture fascism in the period between the World Wars; the effort on the part of these counterculture fascists to enlist the aid of leftists and people of color as “hommes de main.” Parfrey’s recruitment of Liberty Lobby Holocaust denier Keith Stimely to write Feral House press releases.
1. The discussion begins with the frightening and terrifying situation of the late Joe Ferguson, whose posthumous admiration of neo-Nazis, Charles Manson and Timothy McVeigh motivated his mass-murder/ suicide. It was while watching the recounting of the ghastly events of 9/11 that Mr. Emory absorbed the account of this smaller horror. Indeed, Ferguson’s psychological projection of his personality into a posthumous conception is, in certain respects, like the behavior of the 9/11 attackers. Like James Cagney, in the movie “White Heat”, the hijackers and Ferguson imagined that their fiery demise would imbue them with a combination of notoriety and physical transcendence. By disseminating a poisonous adulation of Manson and his ilk, the purveyors of counter-culture fascism, quite deliberately in most cases, set others on their course toward oblivion. The unmitigated evil propagated by Michael Moynihan, Boyd Rice, publishing guru Adam Parfrey and their fellow travelers is set forth in this program.
“Agitated, shirtless under his body armor and holding a 9mm semiautomatic pistol, disgruntled security guard Joseph Ferguson stared straight into the video camera held by a man who would shortly become the fifth life snuffed out in Ferguson’s 24-hour killing spree. ‘I’ve taken four victims,’ Ferguson said from the Rancho Cordova home where he held a Burns International Security colleague and his wife hostage for nearly 18 hours before shooting himself to death in a gunbattle with officers. ‘That should be enough to last a week in the news. . . . He was fascinated with neo-Nazism, Timothy McVeigh and Charles Manson. . . . .”
“Sacramento Killer Vowed Not to Be Taken Alive” by Michelle Guido; San Jose Mercury News; 9/11/2001; pp. 1A-14A.
2. Introducing the book that is at the center of this discussion, author Kevin Coogan encapsulates the story of Black Metal musician Varg Vikernes and his victim, Oystein Aarseth. This story is the centerpiece of Lords of Chaos, co-authored by Moynihan and Didrik Soderlind.
“Lords of Chaos, a recent book-length examination of the Satanic black metal music scene is less concerned with sound than fury. Authors Michael Moynihan and Didrik Soderlind zero in on Norway, where a tiny clique of black metal musicians torched some churches in 1992. The church burners’ own price of worship was a small Oslo record store called Helvete (Hell). Helvete was run by the godfather of Norwegian black metal, Oystein Aarseth (‘Euronymous’, or ‘Prince of Death’), who first brought black metal to Norway with his group Mayhem and his Deathlike Silence record label. . . .”
“How Black is Black Metal?” by Kevin Coogan; Hitlist; February/March 1999 [Volume One, Number One]; p. 1; accessed at: www.oraclesyndicate.org/pub_e/k.coo_e/publ_08-02_2.htm.
3. Reflecting the mythologizing of what is, in reality (for most creatures who pursue this type of music and culture), a mediocre, inglorious existence, Vikernes named himself after a figure from Lord of the Rings.
” . . . Lords of Chaos, however, is far less interested in Euronymous than in the man who killed him, Varg Vikernes, a church burner who dubbed himself ‘Count Grishnackh’ after an evil ogre in Lord of the Rings. Vikernes is now serving a 21-year sentence—Norway’s toughest penalty—in a maximum security prison for brutally stabbing Euronymous to death on August 10, 1993. After his arrest just seven days later, the Count justified himself by claiming that Euronymous was a communist ‘queer’ who had cheated him out of Burzum royalties. He also claimed that Euronymous was plotting to kill him. After being ostracized from the black metal community, Vikernes announced that he was now no longer a black metal Satanist, but rather a Nazi Odinist because the Jews had ‘killed my father Odin.’”
(Idem.)
4. Coogan notes that Moynihan infers from the behavior of Vikernes a growing trend among Black Metal aficionados toward murder and violence. As will be seen, this inference is itself a projection of Moynihan’s own political orientation and not necessarily a reflection of the bulk of black metal musicians and fans.
“If Lords of Chaos were only about the antics of the most extreme wing of black metal, it would be an informative and entertaining look at pop culture Grand Guignol. The book, however, suggests that the events in Norway reflect a growing tendency among alienated youth from Miami to Moscow, who are now allegedly blending black metal, Satanism, and currents of fascism into a culturally explosive Molotov cocktail. Vikernes, however, is really famous for murder, not music, while the overwhelming majority of black metal musicians and fans are not, and are not likely to become, church burners, murderers, or Nazi Odinists.”
(Idem.)
5.
“To buttress its thesis, LORDS OF CHAOS points to metalheads turned murderers, including ‘Balfagor’ from the Swedish Satanic band Nefandus, who attacked a black man in a self-described ‘niggerhunt’; Bard Eithun (‘Faust’) from the Norwegian group Emperor, who murdered a gay man that sought to seduce him; and Jon Nodveidt from the Swedish group Dissection, who butchered an Algerian immigrant. LORDS OF CHAOS even devotes an entire chapter to an obscure two-man German band called Absurd, who coldly executed an annoying fellow high school student. Although the members of Absurd are self-proclaimed Nazis and Vikernes fans, even they reported that they committed the crime for personal, not political, motives.”
(Ibid.; p. 2.)
6.
“LORDS OF CHAOS also dwells on the activity of otherwise highly obscure fascist propagandists with no direct ties to black metal who are nevertheless trying to recruit its followers into their cause. It even adopts a far right spin on Jungian theory when it suggests that Vikernes may have tapped into an anti-Christian racial/cultural archetype that is allegedly still aglow in the Norwegian collective unconscious. The book also profiles racist killers with no known ties to black metal, such as the Florida youth clique called the Lords of Chaos. Before being dethroned by local police, the Lords burnt down a church, murdered a gay teacher, and were planning to slaughter black visitors to Disney World with silencer-equipped automatic weapons.”
(Idem.)
7.
“LORDS OF CHAOS culminates with a paean to the ‘fire, which, it claims, burns bright inside the black metal under-ground despite the attempts of mysterious unnamed ‘forces of finance and materialism’ to ‘root it out and stamp it out.’”
8. Feral House, the publisher of Lords of Chaos, distributes one of Vikernes’ CD’s. In this context, it is significant that Feral House owner Adam Parfrey is part of a counterculture, Social Darwinist/fascist milieu that overlaps both the alternative music and publishing fields.
” . . . Lords of Chaos’s publisher, Feral House, itself distributes one of Vikernes’ Burzum CD’s ‘Filosfem’. . . LORDS OF CHAOS has generally been perceived as an expose of a colorful music sub-culture, and it does indeed provide much valuable information about an otherwise inaccessible scene. Yet what really makes the book fascinating is that its main author, Michael Moynihan, is himself an extreme rightist whose fusion of politics with aesthetic violence shapes a not-so-hidden sub current that runs throughout LORDS OF CHAOS. The book itself, however, is not a ‘fascist’ tract in the strict sense of the term, in part because Moynihan co-wrote the book with Didrik Soderlind, a former music critic for a mainstream Norwegian paper who is now an editor at Playboy. Moreover, Feral House editor Adam Parfrey clearly wanted to publish a popular book on the strange universe of black metal rather than a political polemic. Nor does Moynihan himself fit easily into the more conventional definitions of fascism. LORDS OF CHAOS is best characterized as a palimpsest with the author’s own political ideology at work just below the surface of a text ostensibly devoted solely to analyzing an extremist musical sub-culture.”
(Idem.)
9. One of the points of action and association between Moynihan, and his publisher Adam Parfrey is the Abraxas Foundation, which united both of them with Satanist and fascist Boyd Rice. Abraxas is described by Moynihan as an ‘occultist-fascist think tank’—it is linked to the Church of Satan, about which more will be said later.
“Michael Moynihan is an interesting fellow. . . In 1989, the youthful Bostonian joined forces with the San Francisco-based Abraxas Foundation, which he described as an ‘occultist-fascist think tank’ linked to the Church of Satan. Moynihan dubbed his own wing of the Abraxas Foundation ‘Axis Sanguinaries’ [Blood Axis] because: Blood can be seen as LIFE, and at the same time it can be equated to DEATH. It is essential to violence in almost all instances. It has powerful sexual connotations. It is the key fluid of history . . . [Axis] highlights the genetic aspect of blood, bound together in the will of a people or race. It describes allies of mind and blood, mobilized for total warfare. It also reiterates the pivotal nature of blood in human existence, both personal and world-historic.’”
(Ibid.; pp. 2–3.)
10.
“According to some reports, Moynihan’s blood fetish included drinking (non AIDS-infected) blood. He was also suspected of setting fire to a manger scene on the Cambridge Commons, just across from Harvard University, in 1987, A note left by the firebug at the smoky scene the day after Christmas asked: ‘How many more fires before you realize your gods are dead? DEAD!’”
(Ibid.; p. 3.)
11. Further developing the ideology of Abraxas, the program highlights its fascistic undertones and its emphasis on disseminating this philosophy to youth. (Note the picture of Rice and his American Front protégé Robert Heick, in full Nazi uniform and brandishing daggers for the camera: http://www.canuck.com/Srl/rice.html .)
“As for the Abraxas foundation, it was founded by another blood fetishist named Boyd Rice in 1984. The name came from Abraxas, a Gnostic deity that combined within itself the forces of light and darkness, good and evil. Rice hoped that his foundation would help create ‘a new demographic of people who are into the occult, Fascism, and Social Darwinism. It’s out there as an alternative for kids who are growing up and need that information.’ Both Rice and Moynihan came out of the ‘industrial’ music scene. . . .”
(Idem.)
12. One of the industrial music acts that helped to break the cultural taboo against utilizing fascist imagery was “Throbbing Gristle” and its chief bard Genesis P. Orridge. (Note that Moynihan, among others, held this group and its successor acts in contempt. In Moynihan’s opinion, the group and its leader lacked true fascist political conviction.)
” . . . ‘Throbbing Gristle’, the linchpin of the post-punk ‘industrial’ turn, dressed in camouflage gear decorated with an SS-looking lightning bolt patch, and issued songs like ‘Zyklon B Zombie’ and ‘Salon Kitty’ (named after an SS-run brothel in Berlin). The cover for the Throbbing Gristle song ‘Discipline’ on Fetish Records showed the group outside the former Nazi Ministry of Propaganda building in Berlin. Throbbing Gristle called their hackney-based recording studio the Death Factory, and its Industrial Records logo was an unidentified picture of Auschwitz. Many punks despised Throbbing Gristle as misogynist ‘death art’ fascists. At a July 6, 1978 concert at the London Film Co-op (where Boyd Rice also appeared), a fight even broke out between Throbbing Gristle and members of the Rock Against Racism-allied bands the Slits and the Raincoats. . . .”
(Ibid.; p. 4.)
13. Coogan explains the fascist aesthetics underlying the culture to which “Throbbing Gristle” belongs.
” . . . The Industrialist fascination with taboo breakers extended to charismatic leaders like Hitler and Manson, who became iconic figures in a world where evil was more real than good, and hate more strong than love. Yet because they, like the Marquis de Sade before them, were also fearless disrupters of middle-class morality, a Hitler or Manson were also, in a sense, perverse role models. The sheer bleakness of industrial culture also provided fertile ground for future misanthropy. If evil was more powerful than good, evil was also more natural. In a truly Hobbesian world the Social Darwinists and the Malthusians were right when they argued that only the strong could and should survive.”
(Idem.)
14. Not unprecedented, this worldview reflects one that became extant during the period leading up to World War II.
“. . . The sense of despair felt by industrial culture was not unique. A similar heroic/pessimistic worldview appeared in Europe after World War I. In the early 1920’s there arose what I shall call ‘counter-cultural fascism.’ More a sensibility than a movement, it fused Friedrich Nietzsche’s idea of the individual will-to-power and his contempt for middle-class morality with Oswald Spengler’s belief in the imminent downfall of the West. Artists like Futurist founder Filippo Marinetti, Ezra Pound, Gabriele D’Annunzio, and Ernst Junger viewed traditional forms of conservatism with the same contempt that they felt for social democracy, rationalism, and the Enlghtenment. While Genesis P. Orridge was not really a countercultural fascist, Throbbing Gristle stood on he cusp of a revival of a ‘counter cultural fascist’ turn in segments of haute Bohemia.”
(Idem.)
15.
“Another set of ides associated with the Abraxas network had earlier been promoted by a radical Italian fascist named Franco Freda. Freda, who advocated a combined right-and-left-wing terrorist assault on the middle class Establishment, first outlined his ideas at a 1969 meeting of the far-right European Revolutionary Front in Regensburg, Bavaria. In his talk, which was later published as La Disintegrazione del Sistema [The Disintegration of the System], Freda argued that the ‘nervous system of the bourgeois world’ had to be disrupted with utmost violence by far right ‘political soldiers’ working in an alliance with the far left.”
(Idem.)
16. One of the political/ideological antecedents of the Abraxas fascist aesthetic is Julius Evola. Evola’s work was financed by the SD—the SS intelligence service. (For more about Evola, see—among other programs—FTR#233.)
“Freda derived essential parts of his strategy from the Italian conservative revolutionary theorist Julius Evola, the ‘Herbert Marcuse’ of the postwar European far right. Evola argued in books like Calvacare la Tigre (Riding the Tiger) that the collapse of modern mass society was something to be welcomed, not resisted. Radical Evolans like Freda believed that violent shocks to the system could only hasten the inevitable collapse of the hated modern order. . . .”
(Idem.)
17. Next, the program sets forth the professional development of Adam Parfrey—a fellow in the Abraxas Foundation and the publisher of Lords of Chaos.
” . . . The new hip regime of mean was exemplified by the infamous Los Angeles Amok catalog. Amok Press’ bestseller Apocalypse Culture, a collection of rants, raves, conspiracy theories and aesthetic terrorist tracts, was another key text. Adam Parfrey, owner of Amok and later Feral House, first entered the scene in 1980 with IDEA, a southern California-based Re/Search-type journal about punk culture. He then moved to New York, where he met the art designer George Petros. . . .In 1984, Parfrey and Petros created Exit, a New York-based journal heavy on graphic design.”
(Ibid.; pp. 5–6.)
18. Far from benign and aloof, Parfrey’s literary efforts have served to disseminate the views and efforts of some of the very worst Nazis and fascists.
“Parfrey worked with Petros on the first three issues of Exit, before leaving to create Amok Press. Once a success de scandale, Exit’s increasing fascination with fascism doomed it to just six issues. Issue Five, for example, featured a particularly rancid piece of anti-Semitism entitled ‘The Execution of Carl Jung’, which was ‘conceived by George Petros’ with ‘text researched by Robert N. Taylor,’ a former paramilitary Minuteman leader turned racial Odinist. The final 1994 Exit included contributions from Michael Moynihan and James Mason, an American Nazi whose book Siege was published by Moynihan. While producing Exit, Petros also served as an editor at Seconds, an eclectic New York-based music magazine that Moynihan, Rice, and Parfrey regularly write for.”
(Ibid.; p. 6.)
19. One of the organizations with a philosophical affinity for Abraxas, Genesis P. Orridge, etc., is the Church of Satan and its late founder, Anton LaVey. (Both Moynihan and Boyd Rice are members of this organization.)
“The new glorification of the instinctual and the barbaric, the belief in the survival of the fittest, and the hatred of both Christian morality and liberal humanism were all music to the ears of Anton LaVey, the founder and head of the San Francisco-based Church of Satan. Not surprisingly, Boyd Rice developed close ties with LaVey in the early 1980’s. In 1984, Rice set up the Abraxas Foundation as a ‘social Darwinist think tank.’ An Abraxas tract called WAKE pro-claimed ‘Long Live Death!’ and hailed Malthusianism as ‘Nature’s Eternal Fascism.’ (The Church of Satan also maintained close ties to Genesis P. Orridge.) Today Rice is himself a member of the Church’s governing inner circle, the Council of Nine. . . .”
(Idem.)
20. Among the fellow travellers of LaVey are people who espouse Odinist religion. Within that milieu, in turn, are people of a truly murderous bent. Note the presence in this Satanist/Nazi milieu of the wife of convicted Order murderer David Lane. (For more about The Order, see—among other programs—FTR#‘s 89, 386, 399, and the various programs discussing the topics of OJ Simpson case, the Oklahoma City bombing, and Serpent’s Walk. Important background information on The Order can be obtained from RFA’s 10–13—available from Spitfire.)
” . . . LaVey, who is often only seen as a libertarian maverick, called for a new kind of fascism in a 1994 interview with Michael Moynihan in Seconds. Moynihan’s essay, ‘The Faustian Spirit of Fascism,’ was also published in the Church of Satan’s magazine, The Black Flame. LaVey even contributed an introduction to a new edition of ‘Ragnar Redbeard’s Might is Right, a Nietzschean and Social Darwinist tract first published in 1896 which LaVey had liberally plagiarized in his own book, The Satanic Bible. The editor of the new edition of Might is Right is listed as Katia Lane. She is the wife of David Lane, an Odinist leader of the high-profile far right paramilitary group called the Order, who is now serving a life sentence for conspiring to murder a Denver radio personality named Alan Berg.”
(Idem.)
21. The afterword of Might is Right (edited by the wife of convicted Order killer David Lane) was penned by George Hawthorne, head of the Ra Ho Wa racist musical group. Afterword author George Hawthorne is also the founder of Resistance Records, now owned by the National Alliance. (For more about Resistance Records and the National Alliance, see FTR#211.) Before being appropriated by the National Alliance, Resistance Records was distributed by the fascist Liberty Lobby. In charge of this distribution was Todd Blodgett, a former Reagan White House staff member. (For more about the Nazi underpinnings of the Reagan administration, see—among other programs—FTR#‘s 180, 332, 421.)
“The author of Might is Right’s afterword is, arguably, even more; ‘devilish’ than LaVey. He is none other than George Hawthorne, head of the white racist musical group Ra Ho Wa (Racial Holy War) and founder of Resistance Records, whom Michael Moynihan interviewed for Seconds and The Black Flame, Moynihan is also thanked in the new edition of Might is Right for helping make the book possible.”
(Idem.)
22. Promoting and extolling Charles Manson, the Abraxas milieu came into contact with James Mason, among other members of the American Nazi Party.) “In the mid-1980’s, Adam Parfrey formed Amok Press, the precursor to Feral House, with Ken Swezey of the Amok catalog. Amok’s first book, Michael, was an English translation of Nazi Prpaganda Minister Joseph Goebbels’ sole novel. Parfrey’s next book, Apocalypse Culture was followed in 1988 by The Manson File, which was edited by Nikolas Schreck (the boyfriend of LaVey’s daughter Zeena) in collaboration with Boyd Rice and others. Rice regularly visited Manson, and even campaigned to get him released from jail through an Abraxas spin-off called the Friends of Justice.” (Idem.)
23. A pivot point in the development of the Abraxas Foundation’s professional relationship with members and alumni of the American Nazi Party was convicted murderer Perry ‘Red’ Warthan. Warthan catalyzed the relationship between ANP member James Mason and the Abraxas configuration. Among the ranks of the Nazis associated with the Abraxas milieu is Robert Heick, seen here in Nazi uniform with Abraxas/Moynihan/Parfrey colleague Boyd Rice: http://www.canuck.com/Srl/rice.html .)
“Via Manson, the Abraxas circle came into contact with James Mason, a former member of George Lincoln Rockwell’s American Nazi Party (ANP) and the eccentric head of the National Socialist Liberation Front (NSLF). Mason had established contact with Manson in the early 1980’s through an NSLF member named Perry ‘Red’ Warthan. Warthan later murdered a 17-year-old high school student in Oroville, California, because the boy told police that Warthan had been distributing racist literature. In the late 1980’s, Rice got into hot water due to his friendship with Robert Heick is the leader of a skin-head group called American Front that once attacked the San Francisco anarchist bookstore “Bound Together.” Although he denied having any political ties to Heick, the growing unpopularity of Abraxas in San Francisco led Rice to decamp to Denver, Colorado.”
(Ibid.; pp. 6–7.)
24. Next, the program highlights the relationship between Abraxas fellow Adam Parfrey and the late Keith Stimely, the former editor of the Liberty Lobby’s Journal of Historical Review (the leading Holocaust denial publication.) Parfrey hired Stimely to write press releases for Feral House (publisher of Lords of Chaos).
“As for Parfrey, he first moved his publishing operation from New York to Los Angeles. After the LA riots, he relocated to Portland and then returned south to Venice, California. While in Portland, Parfrey (whose own mother is Jewish) hired the late Keith Stimely, an openly gay former editor of The Journal of Historical Review, the world’s leading Holocaust-denial outfit, to write Feral House press releases. Stimely’s name also appeared on a leaflet, along with that of Moynihan and Portland artist Diabolos Rex, as part of a Boyd Rice/NON ‘Total War’ performance in that city. . . .”
(Ibid.; p. 7.)
25. Moynihan’s Storm Press published American Nazi Party member James Mason’s tract Siege, which glorifies Manson and other mass murderers as exemplars of the chaos that National Socialism should embrace. (Joseph Ferguson embodied the tragic distillate of this philosophy.) Significantly, Mason (and through him, Moynihan) advocate violence against the system by anyone—left, right, white black, brown or otherwise.) In this respect, Mason is an advocate of a stance approximating that of the fascist Third Position. (For more about the Third Position, see, among other programs, FTR#‘s 252, 285, 352, as well as Miscellaneous Archive Shows M19 and M21, available from Spitfire.) Note that Feral House guru Adam Parfrey assisted in the publication of Siege.
” . . . One year later, Moynihan was more preoccupied by literary than legal matters. His Denver-based Storm Press published Siege, a 400-page anthology of the writings of James Mason, the Nazi fan of Charles Manson. In his acknowledgements, Moynihan (‘Michael M. Jenkins’) thanked (among others) both Adam Parfrey and Anton LaVey for their help in facilitating Siege’s publication. Mason argued in Siege that National Socialism had lost its violent, revolutionary edge. ‘We want to see crime and chaos rise to such a degree where the System becomes no longer viable and falls apart,’ he wrote. In a tract called ‘Smashing the Pig System,’ he growled: ‘If a bunch of Black Nationalists rob a Brinks truck, if they kill some System Pigs, WHO CARES??!!”
(Idem.)
26. Note Siege’s glorification of James Franklin, the role model for National Vanguard Books’ tract Hunter. That book (published by the literary wing of the National Alliance that also publishes The Turner Diaries and Serpent’s Walk) glorifies the killing of interracial couples.)
“Siege also paid homage to white racist ‘lone wolf’ assassins like Mason’s former American Nazi Party colleague Joseph Franklin, who specialized in shooting interracial couples (‘race traitors’); and James Huberty, who massacred a largely Hispanic clientele at a McDonald’s restaurant in San Diego. Mason felt that the lone wolves mere merely expressing healthy ‘Viking berserker rage’ against ‘Big Brother.’ He especially liked the fact that, since they acted alone, these lone wolves were very difficult to catch. Siege also glorified Charles Manson. Mason even created a Manson-inspired successor group to the NSLF called the Universal Order in an effort to transcend the traditional ‘left-right spectrum.’ In his introduction to Siege, Moynihan also highlighted Mason’s call for a unity of [ideological and behavioral] extremes against the System. . . .”
(Idem.)
27. As bizarrely violent and aberrant as it appears at first glance, the philosophy espoused in Siege and Lords of Chaos reflects the Freda/Evola call the destabilization of the “system.”
” . . . For all its crudeness, Siege echoed Franco Freda’s radical Evolan call for total social disruption in La Disintegrazione del Sistema. Storm also plans to issue the first English translation of Evola’s 1953 book, Gli Uomini e Ie Rovine (Men Among the Ruins). In August 1993, one year after Siege was published, Varg Vikernes murdered Euronymous. Although Moynihan was not a black metalist, the lure of Norway’s new Charles Manson [Vikernes] too much to resist. . . .”
(Idem.)
28. Among the fascist theorists Moynihan relies upon in his book is one “Kadmon”—himself a professional associate of Moynihan’s.
“In Lords of Chaos, Moynihan suggests that Vikernes is an avatar of a long-repressed Odinist archetype analogous to what Jung claimed for Nazi Germany in his famous 1936 essay on Wotan. . . . In Lords of Chaos, Moynihan relies upon ‘Kadmon,’ editor of a Vienna-based journal called Aorta, to bolster the racial archetype thesis. Kadmon argues that Norwegian black metalists are modern day examples of an ancient martial/mystical band of Werewolf-like ‘berserker’ warriors known as the Oskorei. No disinterested scholar, Kadmon is also a political supporter of Vikernes as well as Moynihan’s collaborator. His band Allerseelen, for example, put out a joint CD with Moynihan’s group Blood Axis. A blood fetishist, Kadmon named his journal Aorta because it is ‘a blood-red cycle. In Aorta there is my blood. The blood of the poet, the blood of the magician, the blood of the warrior.’ Kadmon also devoted one issue of Aorta to ‘the Odinist Norwegian composer Varg Vikernes . . .who is currently in prison due to his Viking ethics.’”
(Ibid.; p. 8.)
28. Lords of Chaos neglects to mention that its glorified protagonist Euronymous was planning to dynamite a punk anti-fascist house.
” . . . Given how much valuable information Lords of Chaos does present, it is somewhat incredible that the book fails to note that at the time that Vikernes murdered Euronymous, he was also planning to destroy an Oslo-based punk anti-fascist squat called Blitz House. After his arrest for murder, the police discovered that he had about 330 pounds of stolen dynamite in his possession. . . .”
(Idem.)
29. An even more significant omission is the failure Lords of Chaos to note that among the apparent influences on Vikernes’ murder of Euronymous was the ideology of the Abraxas milieu itself!
“Lords of Chaos also ignores another obvious cultural influence on Vikernes, the Abraxas network’s glorification of killers like Charles Manson! Vikernes’ home town, Bergen, is also home to Jan Bruun’s Hypertonia World Enterprises. Bruun is a major distributor of Charles Manson memorabilia like ‘Watching Satan—the Legacy of Charles Manson.’ He knows Moynihan and interviewed him for an Italian journal aptly named Helter Skelter. Moynihan also thanks Bruun, an avowed social Darwinist and Malthusian, in the acknowledgements to Lords of Chaos. It seems almost impossible to believe that Vikernes would not have known about Hypertonia World Enterprises, especially since Bruun was in contact with Euronymous and even sold Mayhem LP’s.”
(Idem.)
30. Next, the broadcast highlights Moynihan’s own association with the racist/Odinist organization the Asatru Alliance. As with the rest of the Abraxas political/cultural environment, the Asatru Alliance intersects the milieu of the American Nazi Party and the paramilitary Minutemen.
“Despite his use of Kadmon’s theories, Moynihan claims in Lords of Chaos that ‘there is absolutely no specific connection’ between practitioners of Nordic religion and the black metal scene. ‘In fact,’ he writes, ‘public assumptions that such a link would exist have been a severe liability to these groups.’ Moynihan, however, neglects to mention that he himself is a leading member of a U.S. based racialist ‘Old Norse and Germanic religion’ movement called the Asatru Alliance of Independent Kindreds (AA), which in headquartered in Arizona.”
(Idem.)
31.
“The Asatru Alliance evolved out of a 1960’s Odinist/Nordic revival movement called the Asatril Free Assembly. The Asatru Alliance faction argued that a Norse religious movement should only include people of Northern European descent. It also publishes a journal called Vor Tru which is edited by Robert Ward, the former editor of a rightist music zine called The Fifth Path. He is also almost certainly the ‘R, Ward’ thanked by Moynihan for his typesetting contribution to Siege. Another Asatru Alliance, ‘Valgard’ (Michael Murray), was a former member of Rockwell’s American Nazi Party.”
(Idem.)
32. Robert Taylor is another of the unsavory associates of Moynihan and Feral House’s Adam Parfrey. As of 1999, Moynihan lived in Portland Oregon, where he moved in order to work for Feral House.
“Moynihan’s close friend Robert Nicholas Taylor, who publishes an Odinist journal called The Continuing Clan, is yet another Asatru Alliance bigwig with a far right bio. The rightist music journal Ohm Clock reports that during ’ a 12-year stint as a national spokesman for the Minutemen, he [Taylor] went on to become Director of Intelligence and set up the first guerilla training schools ever to exist in the United States.’ Taylor’s call for the racial balkanization of America, an argument associated with the late ‘Klanarchist’ leader Robert Miles, was also featured in the last issue of Exit. Moynihan now [1999] lives in Portland, where he moved in order to work for Feral House. . . .”
(Ibid.; pp. 9–10.)
33. Moynihan continues to propagandize on behalf of Vikernes. Note that Vikernes’ CD’s are jointly distributed by Feral House audio.
” . . . True to his principles, Moynihan is quite active in the propaganda support network for Vikernes. He is, for example, a leading contributor to a rightist journal called Filosofem, which is published by a group also called Blood Axis. Filosofem is located at 5 Rue Gabriel Price in Metz, France. This same address is the source of a series of pro-Vikernes leaflets which carry the name Cymophane on them. Filosofem also takes its name from a Burzum CD that Vikernes recorded in 1993 while out on bail. That CD is currently being jointly distributed by Misanthropy Records, Cymophane Productions, and Feral House Audio.”
(Ibid.; p. 10.)
34. Another of the occult fascists associated with Moynihan and the Abraxas network is Kerry Bolton, publisher of Nexus among other periodicals.
“Lords of Chaos also contains an interview with Kerry Bolton, a New Zealand-based Satanist who is trying to popularize fascism inside pop culture with a series of small journals like Key of Alocer, The Nexus and The Flaming Sword. His essays have also appeared in The Black Flame and Filosofem. In one of his writings Bolton even calls the Futurist (and later Fascist) Filippo Marinetti a forerunner of ‘Industrial Culture’. His publications also feature Moynihan, R.N. Taylor, Boyd Rice, Kadmon, and others like them. . . .”
(Idem.)
35.
” . . . Bolton also leads an overtly fascist magical sect called the Black Order. The Black Order’s New Zealand address is conveniently reprinted in an illustration in Lords of Chaos. A French far rightist and OTO leader named Christian Bouchet also pops up in Lords of Chaos. Along with publishing his own occult journal Lutte du People he edits. Bouchet advocates an alliance with the far left, applauds Castro for resisting American imperialism, and praises the French nineteenth century anarchist Pierre-Joseph Proudhon. H even offered a eulogy for the German ultra-leftist Ulrike Meinhof, a leader of the terrorist Rote Armee Fraktion, RAF. Nouvelle Resistance is also behind a pro-Vikernes music fanzine called Napalm Rock, whose editor Lords of Chaos interviews. Given his own background and publicly proclaimed political views, it seems fairly obvious that Moynihan would not be terribly distraught if a new wave of ‘berserker youth’ chose to follow in Vikernes’ path—regardless of whether or not he holds the Count’s most extreme political statements in high regard.”
(Idem.)
36. In light of the ideological/cultural propagandizing of Moynihan, Parfrey, Rice, the Abraxas network and the other fascists and Nazi fellow travelers recounted in the text above, the motivation propelling the bloody demise of Joseph Ferguson seems less obscure.
“Agitated, shirtless under his body armor and holding a 9mm semiautomatic pistol, disgruntled security guard Joseph Ferguson stared straight into the video camera held by a man would shortly become the fifth life snuffed out in Ferguson’s 24-hour killing spree. ‘I’ve taken four victims,’ Ferguson said from the Rancho Cordova home where he held a Burns International Security colleague and his wife hostage for nearly 18 hours before shooting himself to death in a gunbattle with officers. ‘That should be enough to last a week in the news. . . . He was fascinated with neo-Nazism, Timothy McVeigh and Charles Manson. [Italics are Mr. Emory’s]”
“Sacramento Killer Vowed Not to Be Taken Alive” by Michelle Guido; San Jose Mercury News; 9/11/2001; pp. 1A-14A.
Even MORE Fun With Science: Earthquake Weaponry
If one is keeping track of fascist ideology creeping into mass culture I can suggest following up on associates of Genesis P, Orridge ‚Dave Tibet of the group Current 93 professes to be influenced by Francis Parker Yockey and his group released a record titled Emperium as well as a few others with overt Crowley themes.