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Was That Racist or Not? I Can’t Tell: The Music of Prussian Blue

Author: 
Davis, M. Justin
Committee Members: 
Dr. John Haas
Date: 
August 2009

Abstract: This study is an investigation into the music group Prussian Blue. The study was conducted by textual analysis of cultural material including novels, Web sites, documentary films, online interviews, music, videos, and magazine articles garnered through theoretical sampling. The textual analysis was conducted following the grounded theory approach to coding qualitative data. The findings reveal various discursive and ideological interconnections between the music group Prussian Blue and the contemporary hate movement. The group has a history of Holocaust denial, celebrates Adolph Hitler as someone with ―a lot of good ideas,‖ and cultivates relationships with some of the most notorious figures within the U.S. hate movement. White power music is being used as a tool to advertise and recruit people to the hate movement.

This research also explored the meaning of white power music from the perspective of those of produce it as well as those who consume the music. Describing the meaning to them, fans report enjoying the music, appreciating the pro-white messages, and express the belief that Lynx and Lamb represent good role models. From April Gaede‘s perspective, the mother and manager of Prussian Blue, the music represents a counterhegemonic activity designed to mainstream pro-white messages and make money. April also described that music is a way to showcase her daughters‘ music, while also extending the white power music scene. Finally, April expressed her hope that Prussian Blue music would recruit other youngsters to produce pro-white cultural material.

The meaning of Prussian Blue music to band members Lamb and Lynx Gaede represents the most complex and evolving perspective. Earlier narratives from the duo described how making music was a fun process and that the pro-white message of their music was of their own choosing. More recent narratives, however, express a strikingly different perspective. Specifically, the two reject their earlier pro-white music while also expressing regret for making those songs. This transformation has implications for cultural identity and action.