What was anders behring breivik listening to

The cultural conservatives of Western Europe will seize power by , if you want to be a part of this you will have no choice but to compromise. I would imagine that a continued Judeo Christian Europe would be considerably better than a European Caliphate even for the most hardcore NS. Breivik, —4. Breivik therefore sees commonalities between his brand of conservatism and the ostensibly neo-Nazi extreme right, although he views Saga in particular as having sympathy with his ideology.

Marxist and multiculturalist character-assassins will claim that Saga is an evil, national-socialist monsterband from hell, due to her success. Saga has created several pop-tracks with nationalist-oriented texts that will appeal to all conservatives, and especially revolutionary conservatives of all conservative ideological denominations.

It has come to my attention that my music has been cited … as going some way to inspiring one of the most vile and criminal acts in recent history. I cannot begin to describe how saddened I am to hear that and wanted to inform you all of my shock and utter horror at such an atrocity. My music is conceived to be a positive step towards celebrating our identity and bringing about positive cultural and political change. Like a great many artists and musicians, my music is designed to give hope to those who otherwise would have little.

Change is brought about through political and cultural means by like-minds working together for a greater cause not brought about by warped loners acting out their murderous intentions. I have never sought to encourage or promote violence and I never shall. Saga, Extreme-right music tends to espouse lyrical themes of anti-Semitism, racism, anti-communism, white supremacism and white nationalism, often framing these themes in the language of conflict and struggle.

Like Breivik, extreme-right music often has a preoccupation with myth and fantasy; it is common to find those involved in the extreme right making reference to historical figures like the crusaders or the Vikings and imagining themselves as modern-day counterparts.

Racial interpretations of fantasy stories, particularly those of J. Tolkien, place the extreme right as the representatives of good and light, fighting off the evil of other races. Saga has the credibility to use the texts presented vocally as she has been a Swedish and European conservative resistance fighter for more than 10 years, working for the political and cultural interests of Sweden and the interests of all Swedes, Scandinavians and Europeans.

Yet they continue their brave struggle to prevent the demographical and cultural genocide of the Scandinavian and European tribes. I discovered Sagas music relatively late, in , but have enjoyed it ever since. It has worked brilliantly for me and it will likely work just as well for you.

This passage reveals the extent to which Breivik found comfort in the music and the life-story of Saga, which suggests an importance beyond keeping him motivated. Even if Breivik felt unable to make contact with potential ideological comrades for fear of compromising himself, music such as this allowed him to perceive himself as part of a community who share his convictions, particularly that there is a fight to be fought, and victory to be achieved.

While this audience may turn out to be mainly journalists and academics, Breivik did not write it as a confessional work. Rather, it documented his experiences in preparation for his attack and his advice for potential emulators, implying that Breivik believed that he would serve as a pioneer to be emulated, with successors who would have similar goals and tastes. Beyond this, music allowed Breivik to visualise himself in various roles in preparation for his attack. This is evident from the important part that music played in his motivational ritual, and the inspiration he drew from the musicians themselves, particularly Saga who, at least to Breivik, was charting a similar path in the face of persecution.

His research, carried out under the supervision of Professor Simon Firth and Dr Elaine Kelly considers the role of popular music in extreme right wing movements, particularly in Europe.

Accessed January 15, Anderson, Benedict. London: Verso, Barnes, Beau. Bates, Rodger. Accessed December 8, Accessed December18, Breivik, Anders Behring as Andrew Berwick. Self Published. Pidd, Helen. Accessed December 18, Rae, Jonathan. Accessed December 18 Siddique, Haroon and Helen Pidd. Accessed November 26, Weimann, Gabriel. Accessed November 19, Williams, Christopher. Accessed 18 December In , he was sentenced to the maximum 21 years in prison for carrying out Norway's worst massacre since World War Two.

This jail term can be extended if he is deemed to remain a danger to society. The university's rector, Ole Petter Ottersen, said that Norwegian inmates "have a right to pursue higher education in Norway if they meet the admission requirements and are successful in competition with other applicants.

Writing on the university's website , Mr Ottersen admitted that the university had faced "moral dilemmas" about Breivik's admission. The rector added that the university had students whose family members had been killed by Breivik. However, he said that the university would abide by its rules "for our own sake, not for his.

As he studies from his prison, Breivik will be subject to strict regulations. He will be allowed no access to internet resources or receive any personal guidance from tutors. All communication with the university will take place via "a contact person in prison". Breivik first applied to study in but did not meet entry requirements as he had never completed secondary school.

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