THE ALT-RIGHT, PUNK ROCK, AND FAKE BOOBS: AN ANALYSIS

Get your photo taken with the Alt-Right.

by Edwin Oslan

The worst thing about people who are full of shit is when they become fans of things that you both enjoy and are a much, much greater expert on.

I think I’m in some position of authority to state that most punk rockers don’t know as much as I do about the Alternative Right, or the general umbrella of the new right. And similarly I think it’s safe to say that most people on the Alternative Right have only a cursory knowledge of punk rock.

So, as someone who is a damn near expert on both of these topics – not saying I was ever on the vanguard of either of these movements – I think I’m at least qualified to call bullshit on a recent article published by Playboy magazine.

AGAINST APPLAUSE: CULTIVATING AN AESTHETIC OF CONTEMPT

"Ever had the feeling you've been cheated?"—Johnny Rotten

by Andy Nowicki

I have written about the internecine war between white youth of the 80s: “punk” vs. “metal.” That earlier article, this subject functioned as an as introduction to Duran Duran’s 2011 “neo-retro” album All You Need Is Now, summarized the differences thusly:

If you were a youth in the ‘80s—as some of us may be old enough to remember—you simply weren’t allowed to like both Metal and Punk at the same time. The sort of kids who were into Metal (who had the rest of us outnumbered, it always seemed) tended to be less thoughtful or reflective, and more swaggering and macho, while we “Punk” kids liked to style themselves as intellectual and artsy.

STORMER IN A TEACUP

Image courtesy of The Daily Stormer.

A Brief History of Political Marginalization

by Colin Liddell

Andrew Anglin of The Daily Stormer has honoured me with a lengthy and detailed reply to my article about his article about RamZPaul’s vlog on Robert Ransdell’s quixotic senate campaign. This is all well and as it should be: people who purportedly care about the future of the White race and nationalism airing their differences in public and having what is known as a healthy debate.

But it is revealing that the image chosen to accompany this reply is a publicity shot of Russell Crowe in Romper Stomper, perhaps the most famous on-screen example of a self-destructive White Nationalism, living in the past and associating itself with the reviled symbolism of the Third Reich.

While The Daily Stormer has a certain populist appeal within the ghetto of hard-line White Nationalists, which can be likened to the initial popularity of Russell Crowe’s character amongst his gang mates in that movie, Anglin’s professed purpose of mass conversion and moving the Overton window seems a clear pipe dream. Now why is that?

THE MORNING AFTER

by Andy Nowicki

Recently, White Nationalists have touted Metal—particularly Black Metal—as a uniquely Caucasoid sound, one which has the power to unearth the badass fury of proud, salt-of-the-earth, put-upon honky folk in an age of mounting multicultural tyranny and insufferably smarmy media-enforced White guilt.

These writers probably have a point, in a way. It seems to me, though, that what’s uncouth remains uncouth, whether it sports gold teeth, a Flava-Flav necklace-watch and sagging britches, or moon boots, a Def Leppard T-shirt and a mullet. That is to say, a nigger is a nigger, whether he’s Black or White