ABSTRACT
This chapter focuses on the white power music scene. Music has contributed to the circulation of extremist beliefs in recent years. P. C. van Dyck defines white power music as any music produced and distributed by individuals who are actively trying to advance what they view as a white power racist agenda. It examines several dimensions of white power music including its use in the recruitment process and its international popularity and financial contribution to broader white supremacist movement. The chapter highlights how white power music functions as a unifying experience for white supremacists across the globe. Both Russia and Poland emerged as international hosts for white power and neo-Nazi music scenes in the mid-1990s. The goal of white power music is to create alternatives to mainstream music genres by producing music that articulates white supremacist beliefs. These belief systems are linked to occasions and experiences in which white supremacist ideologies are promoted on a national and international level.
