In the early days of social networking, MySpace, owned at the time by globalist neocon Rupert Murdoch, was king, crushing all competition such as Friendster, Tribe, Tagworld & others. Before (the) Facebook was open to non-collegiates, everyone who wanted to network socially had a MySpace account. MySpace was especially important to the independent music scene online, as it was the only website that offered both a free place to showcase music, a blog, and a somewhat captive audience of very active users who could be potential fans.
Quickly, MySpace Music filled up with every indie band & Musician who didn’t have a voice in the corporate mainstream music industry. Naturally, this included plenty of politically-charged music from all parts of the political spectrum as well as music that used shocking imagery. The more popular MySpace got, as mainstream celebrities began using it, the more attention & scrutiny became aimed at what normies called “the dark side of MySpace”: extreme music, atavistic philosophies, and art that the mainstream didn’t understand.
In 2006-2007, it became very common for artists in the underground music scene, especially the shock-rock influenced genres of Industrial, Punk/Oi & Metal, to have their profiles deleted by the MySpace, sometimes with thousands of fans attached, for supposedly “inappropriate content”.
Most commonly artists within the Martial industrial / Neofolk scene, who tend to have a militaristic aesthetic & often use war imagery, were the ones being deleted repeatedly. Some were indeed fascistic in message, however, most were simply artists using shocking imagery and made no mention of politics.
G-d forbid a band member wrote a political blog post that was nationalist, antiglobalist, truly conservative or anything outside of Newscorp’s allowed politics. That would usually result not only in the individual’s account being deleted, but also music profile associated with them as well. Of course, this is a very effective form of censorship as these people/groups would lose contact with large portions of their audience because they could no longer use the same email to get a new account, thus fans searching for them had a harder time finding them again. The fact that when we reported Islamic extremist accounts, they remained, was not overlooked.
At the time, there formed a loosely aligned online community calling themselves “CryptoFa”, an antithesis to the report-button-happy “AntiFa”. Most of these “cryptofascists” were post-industrial & Neofolk music fans who were actually less fascist and more libertarian politically, but were just so fed up with the enforcement of political correctness that they often used as much “fashy” symbology as possible online just be “edgelords” for free speech. A few of us were actually politically active with right wing demonstrations, writings, street art & organizations, but for most, being able to post what they want to their online audience was all they were really fighting for.
We were tired of being attacked as if we were neo-nazis just because some idiot normies thought that Runes were racist symbols, the Church of Satan was the Gothic KKK and that Zionism was “white supremacist”. It got to the point where every other artist or blogger had to make a “backup account” to revert to in case of deletion.
I decided that we needed a social network site that allowed free speech & expression.
I created a site, using a service called Ning, where anything LEGAL was allowed.
Since we were in a war against censorship, I called it Kriegspace.
The music profiles, of course, were the first focus of the site, but the discussions and networking that occurred in the Forum section formed the fertile soil from which the confederation now known as the “Alt-Right” grew. At the time we used terms such as “underground right wing”, “dark side of the right” or the “alternative right wing”.
People who didn’t fit the mold of a mainstream conservative: strange-dressing , often tattooed people who were often moderate on social issues such as gay rights, but Hardline on issues of national security & personal liberty, were suddenly realizing that we were considered far-right by an increasingly socialist-influenced mainstream. We realized this was more than an aesthetic movement within the art & music scene: we were on the front lines in a battle for free speech on the internet and beyond.
However, after a few months, Kriegspace also got brigaded by AntiFa, (most likely including Anton Shekhovtsov who mentions Kriegspace in his negative comments on ‘apoliteic’ music archived here: http://archive.is/qWcNO ) who implored the Ning company to delete my “NeoNazi” social network from their server, citing the Terms of Service, which disallow Ning to be used for anything “hateful or discriminatory based on race, color, sex, religion, nationality, ethnic or national origin, marital status, disability, sexual orientation or age or is otherwise objectionable”. Of course, most of the inflammatory content reported was against radical Islam, thus they counted each instance as several infractions at once.
They caved to the pressure, threats of boycotts, etc. and deleted Kriegspace.
However, the seeds planted by it took root in a variety of political forests.
Many of the younger users there are now grown-up Alt-Right parents, teachers and most importantly, voters.