The Alt-Right’s Roots Go Deep in Co-Opting Pop Music
As with the Nazis and Goebbels and the Ku Klux Klan, the alt-right’s desire to co-opt pop music for their purposes requires ideological and ethical gymnastics.
As with the Nazis and Goebbels and the Ku Klux Klan, the alt-right’s desire to co-opt pop music for their purposes requires ideological and ethical gymnastics.
For Richard Spencer and today’s alt-right, ‘80s British synthpop bands like Depeche Mode satisfy their retrofuturist cultural fantasies.
The new crime drama Poker Face is one of the few TV shows to serve up an authentically represented vegan sensibility.
Like political populism, punk’s traits and tenets are sufficiently vague, contradictory, and unmoored to be vulnerable to co-option by all political opportunists—including the fascist alt-right.
Kunzru excels in capturing the geist in alt-right circles in his latest work, Red Pill, from the callous philosophy down to the very language.
Donna Zuckerberg’s Not All Dead White Men is a powerful study of the ways the alt-right distorts the understanding of ancient Greek and Roman literature to serve hateful interests today.