Wednesday, September 28, 2005

Odinism In White Supremacist Music

Odinism In White Supremacist Music Cover “Music is the most effective propaganda tool ever. It brings racists together into a so-called ‘music scene’ that lets them spread their message almost innocently. Because while a young person probably wouldn’t even read a racist flier, they’ll listen to a tape or CD 15, 20 times and slowly get into the lyrics that way,” Devon Burghart, director of an Oak Park community group opposing racist activities.

If religion provides a common framework and communal group identity, so does music—and possibly in an even more socially acceptable and under-the-radar way than religion. After all, walking around with an Mp3 player is much less conspicuous than with a swastika tattoo.

The United States has the 2nd largest market in the world for racist music—just barely behind Germany. Because of Extremely strict anti-hate speech laws in many (most) European countries, many white supremacist bands have come to the U.S., with its much more liberal first amendment, to record and distribute their messages.

Former operator of the Swedish Midgard music label says that he has seen a surge in interest in white power music with Odinist themes—although he in no way believes this is for religious reasons. “It’s not so much to pray, but to honor the nature and power of white people,” he says. Mark Potak, editor of The Southern Poverty Law Center’s journal speaks about the strategy behind white supremacist music. “They’re disguising the message behind different kinds of themes, especially Celtic and Norse mythology. There is a very strong need among white supremacists to create a mythic past…this mythic past allows them a world view, instead of just saying, ‘I hate black people.’”

Burghart also explains how Odinic white supremacist music relates to the bigger plans of white supremacists. Not only does it help create a mythic past and group identity, he explains that there is basically cross-marketing, where white supremacist groups pass out music at meetings and bands promote these groups at their shows. He ends with, “This is all a strategy. You see, its one thing to identify a small crew of racist skinheads. It’s harder if they’re integrated into a bigger arena. The idea now is to move into new and broader scenes, to infiltrate not only politically, but socially, economically, and culturally” (read the article here).

Books in PDF format to read:

Aleister Crowley - Book 4 Part Iii Magick In Theory And Practice
Anonymous - Odinism And Asatru
Jone Salomonsen - Enchanted Feminism The Reclaiming Witches Of San Francisco
Aleister Crowley - Songs Of The Spirit
Frater Fp - Sigils In Theory And Practice

Friday, September 23, 2005

Poetic Edda Edda Saeundar Hinns Froda

Poetic Edda Edda Saeundar Hinns Froda Cover

Book: Poetic Edda Edda Saeundar Hinns Froda by Benjamin Thorpe

Saemund, son of Sigfus, the reputed collector of the poems bearing his name, which is sometimes Also Called the Elder, and the Poetic, Edda, was of a highly distinguished family, being descended in a direct line from King Harald Hildetonn. He was born at Oddi, his paternal dwelling in the south of Iceland, between the years 1054 and 1057, or about 50 years after the establishment by law of the Christian religion in that island; hence it is easy to imagine that many heathens, or baptized favourers of the old mythic songs of heathenism, may have lived in his days and imparted to him the lays of the times of old, which his unfettered mind induced him to hand down to posterity.

The youth of Saemund was passed in travel and study, in Germany and France, and, according to some accounts, in Italy. His cousin John ogmundson, who later became first bishop of Holum, and after his death was received among the number of saints, when on his way to Rome, fell in with his youthful kinsman, and took him back with him to Iceland, in the year 1076. Saemund afterwards became a priest at Oddi, where he instructed many young men in useful learning; but the effects of which were not improbably such as to the common people might appear as Witchcraft or magic: and, indeed, Saemund's predilection for the sagas and songs of the old heathen times (even for the magical ones) was so well known, that among his countrymen there were some who regarded him as a great sorcerer, though chiefly in what is called white or innocuous and defensive sorcery, a repute which still clings to his memory among the common people of Iceland, and will long adhere to it through the numerous and popular stories regarding him (some of them highly entertaining) that are orally transmitted from generation to generation.

Download Benjamin Thorpe's eBook: Poetic Edda Edda Saeundar Hinns Froda

Free eBooks (Can Be Downloaded):

Snorri Sturlson - The Prose Edda Ver 2
Loptsson - Icelandic Poetry Or The Edda Of Saemund
Benjamin Thorpe - Poetic Edda Edda Saeundar Hinns Froda

Sunday, September 11, 2005

Goddess Frigga

Goddess Frigga Cover Frigga, queen of Asgard, is also a strong seeker of knowledge and wisdom. Matron of marriage and the domestic arts, she is associated with the tools of cloth weaving: the distaff and spindle. She presides over health and home. She is the wife of Odin and mother of Thor and Balder. She is also known to us as the AllMother.

Frigga is queen of the gods, wife of Odin, ruler of his household. Her habitation is called Fensalir. She is a patron of marriage. She is said to be most wise, and to know the destiny of all men. She keeps silent on these matters to all but Odin, whom she advises. She has definite interests in Midgard and can get into power struggles with Odin over just how things should get resolved. In these struggles Odin seems to inevitably lose. She also seems to have a rivalry with some of Odin's other wives and lovers.

Free eBooks (Can Be Downloaded):

Robert Anton Wilson - Prometheus Rising
Anonymous - Confessio Fraternitatis
Franceska De Grandis - Be A Goddess
Franceska De Grandis - Goddess Initiation

Saturday, September 10, 2005

The Myth Of The Ragnarok

The Myth Of The Ragnarok Cover THE myth of the Ragnarok is perhaps the best known of all the Teutonic myths. People who know nothing of Odinism often know of the cataclysmic destruction of the gods.

Even amongst Odinists the subject of Ragnarok can lead to a cloud of melancholy. Like all myths it can be applied to our personal Experiences but I want now to deal with its epic aspect and why rather than allow a feeling of gloom to descend on us we ought to see it as an affirmation of our being and our direct contact with our gods. The 'destruction of the gods' aspect has usually been greatly overplayed. This is not surprising when we consider that those whose writings of it we have were either Christian or at the very least Christian influenced. Contrary to the belief of some there is much evidence to show that Snorri Sturluson far from being a pagan was a Christian who was skilled in the art of disinformation, and the reverence he is sometimes shown is of questionable justification.

The Ragnarok myth shows how gods and men make a final stand against the overwhelming forces of destruction. This in itself can exude a kind of 'doomed romance' aura. There is a great attraction in the idea of going out in a blaze of glory for it can indeed be seen as a noble act. When we look around today at the evil forces besieging us this feeling of doom can lead to a sense of futility - the weak give up without a fight while even many of the strong overreact and waste themselves in foolhardy and foredoomed schemes.

The emphasis on the twilight of the gods aspect has left an impression that our gods will be lost to us. Non-Odinists seldom realise that gods and man alike return to a purer realm. Even Odinists sometimes don't pay that triumph the attention it demands. Not only do gods and men return but their apparent demise in one manifestation affirms their direct Relationship to us. Odinists believe in the reality of this life. It is a celebration of life and the gods are manifest in that life, not separate from it.

Christianity could never have a Ragnarok because the Christian god is not part of life. In Christian eyes this world, this life, is worthless and inherently corrupt. In the Odinist's it is the affirmation of the gods and not some sort of mistake. Cur gods are real and alive because they are manifest in the substance of this life and thus subject to the same events. The Ragnarok shows clearly the cycle of birth, death, rebirth which is behind all creation. If the gods were not part of this they would be beyond our reach; the fact that they are is a triumph of being.

We cannot control the cycle or laws of nature for we are part of it but we can choose whether we are to live a noble life or a worthless one. We can choose in our daily lives whether to stand, proud to defend family and our holy religion, fully knowing our limitations and our inevitable passing from this world, but we don't wait idly for that passing. And we know that rebirth awaits. The Ragnarok clearly shows that continuance: from the ashes a new and purer order arises, just as green shoots push up through the ashes of a forest fire.

The myth of Ragnarok clearly shows our link with the gods and with the cycle of creation. Far from being pessimistic it is an occasion of victory.

Books in PDF format to read:

Max Heindel - The Message Of The Stars
Franz Cumont - The Mysteries Of Mithra
Pyotr Demianovich Ouspenskii - The Symbolism Of The Tarot
Alice Hoffman - The Book Of The Sagas