Who Makes the Nazis? is a site focused on the fascist presence in various 'transgressive' (by their own estimation) musical subcultures. The claim is that at the fringes of these milieus, ideas about the sanctity of art and the irresponsibility and fundamental 'amorality' of the artist provide perfect cover behind which fascist and pro-fascist ideologues are allowed to spread their ideas. Currently these cultures include 'post-industrial', 'martial', 'neo-folk', 'apocalyptic folk' and 'darkwave', among others. It is not a matter of condemning these subcultures, which in fact contain many non-fascist, liberal, socialist, anti-fascist, etc., supporters, but rather of drawing a clear line between the fascists and non-fascists within them by showing the latter the nature and extent of the problem, in the hope that they will themselves marginalise and ultimately reject fascist participation in their 'scene'.

Direct fascist influence is not easy to prove conclusively since the worst offenders will usually deny that they are dealing in explicitly fascist ideas or that they support fascism, or argue that since they are not card-carrying members of a fascist group they cannot possibly be considered fascist. It is not a matter of proving or disproving membership of a group or party; rather it is hoped to show how a range of specifically fascist ideas are being actively promoted - knowingly (certainly, in some cases) or unknowingly. Central to the aim of the site is to show this situation is not simply due to the confused politics of particular musicians (though some of them are very confused indeed), but is also the result of a deliberate effort on the part of a number of pro-fascist thinkers to work surreptitiously in the area of culture with the aim of 'normalising' some of the cultural, social and aesthetic views of fascism, thus creating a periphery out of which a future fascist political movement might recruit. In short, some fascists involved are following a course outlined by Alain de Benoist, a leading figure in the Nouvelle Droite, and the fascist and 'traditionalist' thinker Julius Evola, who argued that fascist forces should retreat from active politics (as described in Anton Shekhovtsov's essay Apoliteic Music: Neo-Folk, Martial Industrial and ‘Metapolitical Fascism’)

To demonstrate the fascist nature of the ideas it is necessary to consider many aspects of fascism - its history, its different branches, and its ideology and development, for example. It is necessary to show that there is no 'fascist minimum' (a succinct definition of fascism that would make it easy to define ideologically), and to dispel some key misconceptions about fascism that are used to provide cover ("X cannot be a fascist because they are gay / have a Jewish partner / are not a member of an openly fascist grouping"). This also means treating of the related and overlapping areas of Esotericism, Satanism and Paganism, Christian Identity and other extreme religious sects, as well as various romantic concepts of the social 'outsider', the killer and psychopath that are popular in some subcultures as well as among some strains of contemporary fascist thought.

It s hoped that as the site goes on we can develop useful FAQs, and information about key ideas, individuals and bands, while also reporting news and comment on all areas of interest .


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