Third Reich Rock and Roll – Article by Adrian Goldberg – Byline Times

Daniel Rachel’s exploration of the dark fascination of rock and pop music with the Third Reich is a thought-provoking and controversial subject that sheds light on the troubling connections between music icons and Nazi symbolism. Through his book, “This Ain’t Rock ‘n’ Roll – Pop Music, The Swastika and The Third Reich,” Rachel delves into the history of artists like Kanye West, David Bowie, Sid Vicious, and Joy Division, who have all flirted with Nazi imagery in their music and public personas.

Rachel’s book uncovers shocking details, such as Kanye West’s release of a single titled “Heil Hitler” and Bowie’s ownership of Joseph Goebbels’ desk, shedding light on the deeper, more troubling aspects of these artists’ connections to Nazism. Bowie’s sustained interest in Nazism over the years, from praising Hitler as a rockstar in the ’70s to planning a film about Goebbels, raises questions about the true extent of his fascination with the ideology.

Despite Rachel’s revelations, he is careful not to accuse or excuse anyone, instead presenting the facts and leaving it to readers to draw their own conclusions. He acknowledges that even he, as a music fan, has unknowingly supported artists like Sid Vicious by purchasing records featuring swastika imagery. Vicious, in particular, has a controversial past, with instances of wearing a swastika T-shirt on stage and writing songs with questionable lyrics.

The introduction of Nazi symbolism to the punk movement by Malcolm Mclaren, who was Jewish, adds an additional layer of complexity to the issue. Rachel highlights the discomforting persistence of Third Reich imagery in rock history, from the Beatles’ Sieg Heil salute to Lady Gaga’s controversial fashion choices. He emphasizes the need for accountability in addressing these uncomfortable truths and urges fans, artists, and the music industry to confront the problematic history of rock and roll.

Rachel’s comparison of the acceptance of Nazi symbolism to other forms of hate and oppression challenges the music industry to acknowledge and address its connections to Nazi ideology. By confronting the uncomfortable reality of rock music’s dark past, Rachel hopes to spark a larger conversation about accountability and change within the music industry as it grapples with issues of racism and sexism.

The deep-rooted connection between rock music and the Third Reich forces fans and industry insiders to reevaluate their heroes and the historical context of their music. By shining a light on this dark chapter of music history, Rachel’s work prompts important questions about accountability, responsibility, and the need to confront uncomfortable truths about the associations between rock music and Nazi symbolism.