3 Reasons Why You Should Ignore Dyson Sphere

1. Another bullet in the cake? No, this time I eat the cake. I finally saw "Hate Rock" the long waited for-- really 23 hours download-- documentary about us. The discussion of the documentary seems much more difficult than what the video says in reality. Prior to watching this video I asked for impressions to people who saw it on the cable in the US and all their comments have actually been really negative. I was caught days ago while solutioning to some questions on the phone. I classified this documentary as antifascist propaganda, since this is what it seems checking out the introduction on the sites (SMG productions and Discovery Times) and this is how individuals described the show to me. I need to state instead, after seeing the work, that it is a "documentary" and not the supreme show about the "absolute evil". If I ever missed anything or did not comprehend anything or if you just want to post a comment (including the anticipated "go to hell"), you can send out a message to my online forum (you don't require to register) or to my email address: viking@ashtree.org Contents Length limitation (about 1 hour) and absence of time make also the best of the videos a limited work. You must have asked yourselves: what to include and what to omit? How to define the entire documentary? So, this is the section in which I will list (I will go beyond!) your "made 30s, why not 31?", all great guidance for someone who'll attempt to write a book-- perhaps-- about hate rock in future, and I think a number of the important things I will jot down here were possibly knowingly excluded, not just forgotten. I have seen you pointed your attention to our basically extreme faces, the "user interface", so how music is spread out, how performances are organized, what different images we utilize, the persecution we get and so on ... it's a very good video, but I believe sometimes it is too "aesthetic", it frequently proposes some songs with "impact" lyrics however does not enter their deep meaning, imaging individuals outside currently learn about our beliefs (only in Detroit instead you caught a good deal of descriptions about some aspects of white power music or when you discussed the 14 words) and often it escapes excessive towards descriptions of political organizations forgetting it is a documentary about music and it boundaries the "white power" motion into the racist thing excessive. Question top: what is a racist? And on a greater level: what is a nationalist? It would have been fascinating to know how a tune is born, in what situation. From the documentary we appear to desire ethnic cleansing mainly or just and above all ... and you sent my tune "Don't go round with the Jews", for example (I'll take myself as example, since I understand myself), which is not a tune about that subject, but about the issue of social combination. You chose from my interview my declaration "I state I'm not a nazi, I'm a fascist, I need to defend my italian history" ... I should comment, with or without that sentence my position doesn't alter: I'm a so-called "white power" songwriter anyhow, so the statement-- drawn out from a long conversation-- is redundant in this context. You yapped about persecution against our music, definitely life. I think you fully described what happens to our bands and organizers. Shawn made extremely clear arguments about it and Erich of Resistance included that music sales assist the activities, however what's missing out on between these parts? It's rather clear that people like the Huge Jews or the Communists maltreat us (Death to ZOG! People screamed.), however nobody clearly expressed some viewpoints about the factors. Hegemony for example? What does it indicate? What could the interests be? (I know it's difficult to talk mainly about it in such a video without falling out of the circle of the subject, but possibly a little concept could be offered).

2. I believe the most essential factor is implicit, however at the very same time fragmented, in your documentary: this kind of music is engine for activities! Really there are harder crimes than "loving your own folk" in this world, but they are not maltreated. Is recruitment a possible factor for this persecution? You yapped about it, but you did not say it is-- surely it is-- a reason why we are persecuted, or better, there are opposite forces pulling people from opposites into their own gardens. Excellent ... In overall simpleness you revealed so well the minute "before the concert" in Verona (also in Britain revealing real rehearsal). It's direct, it's clear ... I'll compose more about it later in the editing area. Another excellent note about the performance in Germany (it resembled you were there ready to be detained together with the skins!). I saw you discovered how internet increased the sales and the dispersing of our music ... this is real. Anyway, you didn't examine about how our music is technically and creatively produced. (You must have seen that creative production is practically totally missing in this scene!) You revealed a recording studio ... however what about other solutions, live recordings and ... distance recordings? You also talked insufficient about executive production: if you look thoroughly you'll find deep spaces among labels! You touched the MTV topic, but which are the essentials for being on MTV? And do we want to be there or are we preventing? (I You can find out more personally was on the charts for many downloaded songs on mtv.it ... eheh! I'm horrible!). Or did you ask yourself: in regards to numbers does the white power movement produce and choose more musically experienced bands or lyrically oriented bands? Which is the balance among these 2 elements? (Erich simply pointed out something about it) Is there any type of attempt/effort for an industrial product? Prussian Blue have a company behind, they "aggressed" the media, they have a tv crew supporting them, a network of advancers ... you talked about them, but did not observe this! And how would a music market based on political groups make difference from existing mainstream markets if it takes off? What effects does it take? You discussed bands, some in political groups, others external, but which are the distinctions between a band in politics and a band which is not? Is music more transversal when outside the celebration? What about the "fans"? Just how much do they spend? How do leading seller items alter according to age, country, earnings ... of purchasers? What about peer-to-peer and how does it damage our scene? How do fans communicate and cultivate their interest (online forums, mp3-video-photo uploads, blogs and initial websites ...)? The Turner Diaries: cutting that part there was location for all these aspects or for another band ... I would have selected Kolovrat or some other band from Eastern Europe. I valued the reality-- and now I'll be eliminated for this-- that you didn't mention Ian Stuart a lot, but your analysis of "hate rock" has been modern. I liked a lot the line you followed, going to the concerts and their backstages as self-talking environments. What's really missing? I'm not the only one who states this: I believe you didn't focus at all on the metal scene, such as Burzum (whose cds are cost your local Virgin Megastore!), or neofolk (I'm thought about neofolk, however I'm not one of the exemplary artists who play this genre). You didn't discuss the pagan and christian subcurrents and their battles (oh, so wrong to have religious beliefs and politics together ... however this happens!).

3. And what else ... you didn't see there are some professionists who make this music and who are trying their way outside the movement. (I will not choose, because I'm unsure I am allowed). I'm sorry to state this last thing, since your work truly deserves lots of honours, but this documentary is still a "flouring" of white power music. I'm really critic about this, yes, like a spinster teacher, because the effort was actually promising and fully grown this time! So, sincere congratulations! My experience on the set and the comments of the old aunts ... I need to award the professionality of those who dealt with this documentary, clearly in particular those 3 nice men I discussed on "Gloucester Roadway" (I do not understand the others ...). It was not my first time on television and on press in basic. Apart from right-wing press things, my relationship with the out-of-the-ghetto press has constantly been quite rainy ... do you remember, folks, for instance, my pics with the bottle or when (on Italian satellite television) a distinguished reporter aggressed me and cut my hair? I have to say this time I was treated like a princess. I spoke, answered to concerns, I was not aggressed, never ever disrupted and I have eaten and intoxicated. I was revealed on the screen like a typical lady with a guitar throughout a possible common moment of my life-- ok, Magnus and Katana are still laughing on the flooring saying I stroll like a duck. Likewise all the other people in the video are "males and females". I got some grievances via email about what I didn't state in the video ... you need to know, sometimes I speak too much and I had assured my close mates of Ashtree features of defence subjects and clinical reseach and paganism, because these are necessary styles in our struggle here at Ashtree Records. You didn't choose anything of this and ok, it's your option. To those who state I'm shown for a too short time on this documentary I respond:. I have always attempted to fill my music with covert messages and now I appear on this video as a subliminal message, so I don't see the problem! Audience. Some people said your documentary is too British. Well, in my opinion considering that you are British and the documentary was initially produced for Five and after that dispersed overseas, I believe you might have some British audience. I wish to make a note of some individual observations and I would like to propose some brand-new hint for reflection and interest. Before investing cash on any tv production, you should have an idea about the audience to which your item is resolved. It's tough-- believe-- it's hard to find a male who's got no interest or just never heard of "hate rock", who

4. takes a seat in front of the television and sees a program like this. It's not lack of knowledge ... it's a situation like going back house, tired from work and just relax with something enjoyable which depends on tastes. You understand, television is still not "configured" by audience (even digital terrestrial, which is sold like "power in the hands of the spectators!") anyway the male, who's God with the Remote Control, could select a documentary about lions instead of sieg heil sieg heil ... You talked about "occurring hate rock". Do you think hate rock is emerging alone or is it accompanied by the number of people who are interested in seeing your documentary on tv? (Keep in mind, we offer cds due to the fact that there are fond listeners). I'll attempt to be clearer. I have the curiosity to understand, whether you considered to produce this video since there are a lot of people who wish to know more about the subject. Somebody screamed "another jewish thing!" ... no, I believe, rather, as Orwell's Big Brother teaches, the unwanted fact is concealed! You DO program hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what kind of name is that? Anyway, I believed MacIntyre was much worst, according to what my good cooperator from our Press Space Neil Rush said: "George Clooney on vacation". Oh, God, I believed, What is it? I'm viewing from far away Italy. The times I remained in Britain I never had the opportunity to see this man in action on television, so this is my very first time. I read his name and I searched on internet. His photos on his website don't make good impression of him as professional figure ... I'm not ending up being a bigot ... I would like to focus again on the introduction composed for this documentary. As I said above it appears a factious intro, referring to words like "disturbing rise of the racist and anti-semitic music market". It holds true, I must not link the guy with the words reported above, but-- this is a guidance-- focus, Mac, because you may fall under the popular television trap of "kindness", a disease attacking media ... nobody's safe! The history of times has taught: attractive = kind. Anyway, Mac, I know you too little to go on discussing this. I discovered the location where you spoke adeguate. It was very "hip hop" style and in a certain way "opposed" to white power and because you are an external viewer (I'm not stating you're hip hop or black) the important things unconsciously matched somehow. I make certain, I wager 50 pounds, you didn't think about this, however the place was picked due to the fact that it was more "streetlife" and more "bad macintyre". Video & Noise Modifying. I can not state much about recording, because I have not got the requisites to discuss it, however I can state something about the editing, because it is a bit my cup of tea. There's very little to state in reality. It's an expert work and done by masters. I'm a little (some one would rather say "short") beginner-- even though somebody has the courage to pay me for modifying things-- however I believe I ought to analyze.

5. I currently talked about it, but I should include this area that the times used to describe the various moments of the Verona event are as exact as a clock. Often excessive "tourism" (important, I do not deny!) cutting time for significative details. A "tourism" like the one in Detroit with explanations of places and regional fauna is the good service. In some cases possibly too long zoom in, zoom out on still images and ... I don't remember,. I maybe remembered about some too slow shift ... however those are options and strategic "fill holes" and stops briefly, modification of rhythm ... The "futuristic" images music causing title "Hate Rock" after the introductive speech resemble putting Madonna's "American Life" as soundtrack for a documentary about nuns. I do not understand if this intro is stylistically in common with other documentaries from your series, however truly here it is a punch in an eye. I believe the introductive speech sufficed, given that it was a sort of well done summary, it could cause title "Hate Rock" completely. The last 20 minutes of the show are much slower than the very first part. Is it my impression? Too long uncut videos, less motion ... in my viewpoint, after about 40 minutes play, such a video needs to get a faster rhythm because it's like the audience-- I don't want to state it falls asleep-- is consuming 300g of pasta and after all this food you may get enough of it. Sometimes various speeches of an exact same person taken in various locations, with too various noise backgrounds, are connected like a continuous speech however the contrast is too apparent. You must have overlapped or attached more thoroughly or attempted to show the video (even half a second, don't require much) from which the environmental sound is taken. You may wonder "You, right you are telling me this ... have you ever seen your own things?". Yes, I have and I don't wish to remember.