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White male power by Bjarne Melgaard, Institute of Civil Disobedience, Oslo 2001

I, BJARNE MELGAARD, A DEVOTED SON OF ODIN, HEREBY DECLARE TH ATIWILL NOW STOP WORKING WITH THE GALLERIES, CURATORS AND SYSTEMS I HAVE BEEN INVOLVED AND ASSOCIATED WITH IN THE PAST THE MENTAL CONCEPTION OF A REVOLUTION IS NOW COMPLETELY GONE FROM OUR WORLD. IT'S TIME TO RECONSTITUTEII ONE OF THE CONSEQUENCES OF THIS WILL BE THAT I WILL STOP MAKING MEDIOCRE, OVERSTUFFED INSTALLATIONS, PSEUDO-REBEL FILMS ANDCRAPPAINTINGS.

NOW G O UNDER THE ÑAME OF BJARTE ORMSTUNGE AND WILL BE PREOCCUPIED WITH ISSUES OF THE NATIONAL, NORWEGIAN BLACK METAL, DYING MY HAIR GREY, NORDIC MYTHOLOGY AND THE CLOTHES OF THE LIKES OF SSURPLUS, ORFI AND HAVING A PERSONAL TRAINER. I WILL BE UNDER THE INFLUENCE OF MY INSTITUTE IN OSLO, DEVOTED TO THE REVOLUTION OF THE SENSES.

VIVA THE REVOLUTION! AND ALWAYSREMEMBER:HELLISWHEREYOU SITÚATE YOURSELF.

WHE N I SEE ART AROUN D ME NOW , IT IS ONLY THE ACTION S OF BOY SCOUTS AND GIRL SCOUTS, COMPLETELY COMPROMISING THEIR WHOLE BEING. SO, AS A MAN OF NO ILLUSIONS, AT LEASTI CAN LOOK AT MYSELF I N THE MIRROR I N THE MORNIN G AN D SAY «l'M A FREE MAN». THIS NOW MEANS A LOI

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The Secular Blasphemy

- Ou r use of the term «White Devil» denotes the symbolic acceptance of the inherited position of oppressive ruler bestowed upon the White

European by the Third World. To embrace and cherish their hatred as the left-handed cry for totalitarian order. (

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Being a White Devil

Conspirator means having a far higher understanding of these people than the coddiing leftist or profit-minded capitalist.

(White Devil Conspiracy interview, Warcom Media 1997.)

- Black music for white people

(Record title by Screamin' Jay Hawkins.)

- Black Metal is for white people

(Hellhammer of Black Metal band Mayhem.)

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The Demonologists of the Rennaissance imagined that witches gathered at secret Sabbaths to worship their evil God. One of the principal

shapes of this deity was that of a man with jet-black skin. This is an interesting analogy of how Western civilisation has seen the black man as the

embodiment of the primitive: The black man represents unrestrained virility or unleashed violence. But while the West fears his primitivism, it '

also longs for it; perhaps fearing that a society of string quartets, welfare programs and warm showers has had too high a price.

In the 1950s, rock'n'roll was adopted by American teenagers. In the suburbs of middie America, nice white kids were dancing to the frenetic

sounds of black music - scaring the shit out of their nice white parents. This outburst of primitivism amidst white picket fences was terrifying. It

is hardly a coincidence that some of the most far-fetched ideas about how «jungle rhythms» corrupted the teenage mind came f rom the Ku Klux

Klan. Likewise, conservative Christian groups were worried about the ecstatic states produced by the rhythm and the blues. Consequentially,

white society furnished rock'n'roll with its usual corporate makeover: «Buy it, clean it up, and sell it.» ^

Fifty years later, movements such as post-colonialism, feminism and Afrocentrism have sharply and steadily criticised the white male. The

«Dead White Males» that were formerly seen as the founders of western civilization are now often described as racist oppressors, a faint echo

of Malcolm X's description of Caucasians as «White Devils.»

Meet Mr. White Male: Oppressor of ai! races, creeds and colors. Sexist, homophobe, racist. Devourer of the world's dwindiing resources. Mr.

White Male is even backed up by an armed power structure and clever techniques for making his f emale colleagues invisible at office meetings.

He will viólate your virginity and take your wallet. «Whitey» is the devil of the woric

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generation has found its own expression, capitalism eventually moved in to créate a more marketable interpretation of it. This leads to a thirst

for something authentic, an expression of youth that has not been shrinkwrapped by Sony and hyped by MTV. In the stifling safety of social

democratic Norway, such a rebellion felt vitally necessary. That necessity created Norwegian Black Metal.

Black Metal emerged as a subgenre of heavy metal at the start of the 80s, a marriage of Black Sabbath on 78 rpm and primal screams - with

Satán the best man at the wedding. The first generation of black metal bands descended like fallen angeis from the sales charts into the bargain

bins at the tail end of the BO's. But Black Metal did not die; rather, it crawled underground to lick its bleeding wounds. Fed on its own blood, it

resurfaced in Norway, a blackened and twisted monster. Consequences ranged from a barrage of some of the best records made in Norway,

to brutal murders and arson attacks against churches.

Ideologically, Norwegian Black Metal was based on a homegrown variety of Satanism that was little more than an inverted versión of Christiar

teachings. While Christ taught goodness, Black Metallers preached evil. But what is evil? In today's secular society, evil has increasingly left th |

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religious arena and entered the political. Evil is that which is politically unacceptable. It was inevitable that the Black Metallers, whil|

 

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concocting a cocktail of all that is contrary to the valúes of liberal society, would stumble upon racism and fascism.

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In a society and culture that strives to accept virtually any cultural, sexual or philosophical expression, Satanism and racism are the tw |

strategies available that gives instant shock valué, and therefore a feeling of power, to disaffected white youth. By pledging allegiance to Sata!

or Hitler, any adolescent boy becomes a threat not only to society, but to civilization itself.

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The Hell's Angeis have utilised this knowledge to its fullest potential. This group of motorcycie-riding Americans has many ex-servicemen from

W W II in their ranks. That they should wear Swastikas, SS ruñes and Iron Crosses as insignia seems illogical. But the Hell's Angeis were well

aware that these symbols would piss off Joe Public far more than leather jackets and bad hygiene. This cartoonish fantasy of masculinity is

mirrored in the stylised Fascism found in several youth scenes. This odd ideological order -(«one fascism please, heavy on the Auschwitz and

invasión of Poland, hold the economic reforms and welfare plans») is more symbolism and fetishism than politics. But it still has the political

function of giving these youths the role of secular devils. Which, of course, they are all too happy to accept.

Sporting slogans like Norwegian Aryan Black Metal and growling lyrics like «the Norse race must slaughter the others/When bluemen (the

Norse word for blacks) knock too heavily on our door», parts of the Black Metal scene has willingly played the role of White Devils. In the process,

they have shown that White primitivism and the secular blasphemy of white racial identification has a shock effect surpassing that of black

Gangsta Rap by a mile. They will continué to do so until the next generation of young people comes up with something even more terrifying.

Didrik Sederlind, co-author of «Lords of Chaos»

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Intellectuals Are The Shoeshlne Boys Of The Ruling Élite

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INSTITUYE OF CIVIL DISOBEDIENCE / INSTITUTT FOR SIVI L ULYDIGHE T C/ O BJARN E MELGAARD ,

OSLO.^ICD Í