On Friday, white supremacists celebrated Adolf Hitler’s 129th birthday. Although a handful of racists consider Hitler a failure for causing a war that ended in millions of dead white men, the prevailing belief is that “Uncle” Adolf was a great leader who stood up for the German people against Jews and Communists.

Using the hashtag #HappyBirthdayUncle, Twitter’s remaining Neo-Nazis celebrated their idol and whitewashed his legacy:

But at least one person couldn’t enjoy the festivities. Byron de la Vandal, one of a handful of alt-right folk singers, was unmasked thanks to the inestimable research of Rose City Antifa. According to an April 18, 2018 article on their website, de la Vandal was the pseudonym of Evan James McCarty, a 22-year-old actor in Eugene, OR.

As “Byron de la Vandal” — an ode to the murderer of civil rights icon Medgar Evers — McCarty spewed racist and homophobic bile on social media platforms like Twitter and Gab. Some of his remarks included “Good evening I still hate Jews,” and “Every single one of your relatives deserved to die in the Holocaust.” He shared conspiracies about the Parkland shooting and called one of the survivors a “faggot.”

Rose City Antifa also noted that McCarty “seems to have been behind a good deal of white supremacist graffiti which plagued Eugene, OR in 2017.” On his now defunct anonymous Twitter account, McCarty posted photos of stickers and flyers he apparently put on walls and lampposts, which carried racist and fascist symbols and slogans.

He was also, it would seem, an avid recruiter for Vanguard America, the Neo-Nazi organization whose members alleged killer James Fields, Jr. posed with at last year’s “Unite the Right” rally. Vanguard America has since splintered apart, spawning the equally noxious Patriot Front. On Gab McCarty once exhorted disillusioned white men to “Join Vanguard America today!”

And then there’s his cringe-inducing music. One of his songs, sung to the tune of “Auld Lang Syne,” repeats the Nazi slogan “Blood and soil” in its refrain. In “Stiff Upper Lip,” which he wrote about Islamist terror attacks in the UK, McCarty sings:

Father, please tell me of when you were little
How you could walk on the street where you live
Without having to fear
Dark men with dark beards

What the fuck happened to Britain, my country?
Why are there women with veils on the streets
Speaking foreign tongues
Where once there were none?

On London Bridge they’re falling down,
Lay the bodies in the ground
London Bridge, they were cut down
My dear lady

And in “Persian Girl” McCarty expressed his (ironic?) love for YouTube shooter Nasim Najafi Aghdam, who has become something of a sex symbol for 4chan dweebs. Choice lyrics include:

On April 3rd in the year of 18
She met her untimely fate
With her Smith & Wesson in her lily-white hand
She entered the censor’s gate

Comely, silently, gracefully then
She raised her pistol up slow
With her 3 well-placed shots she had taken revenge
In the city of San Francisco

He explained why he writes and sings these sophomoric, racially-tinged ballads during a Fash the Nation interview last July. As he told Jay Lorenz at the time:

I’m primarily trying to make folk music. Folk music that will make you feel things. Primarily what I want to do is I want to get an emotional reaction out of the listener. This is like music that’s going to make you angry, and music that’ll make you tear up and give you this lump in your throat. And it happens to me when I write it and play it, and I certainly want that to happen to you. And I want you to take those emotions that you get and I want you to channel them in a positive and non-violent direction towards furthering — we always disavow violence — take that and put it into whatever you’re doing. Put it into your work with your local [TRS] Pool Party. Put it into your work at your profession so you can earn more money and provide for your family. Take that, and do what you need to do to further the 14 Words.

It seems that McCarty will have to channel his emotions into his music full time now, as the theatre group he worked for officially severed ties with him. According to the Eugene Weekly, the star of such local productions as Gentlemen Prefer Blondes (very fitting) and Mary Poppins was let go by The Shedd Institute:

“We’ve known and worked with Evan since he was 13 or 14 years old and have never experienced anything like this in our dealings with him,” [executive director James] Ralph says. “He has always acted and spoken professionally, ethically and with complete civility. We wouldn’t have been able to continue working with him if he had behaved himself as a racist, neo-Nazi or white supremacist in his association with us.”

….

“We are obliged to distance ourselves from a young man we have always considered to be a valued colleague. We have always considered him to be a member of our Shedd family, so this hurts a lot,” he writes. “The Shedd Institute is, at the core of its very being, dedicated to diversity, multiculturalism, accessibility and a generosity of spirit to all people in every part of our community of every background. We’re committed to building community upon those beliefs and values. There is no place for extremism of any kind — on the right or the left — in our world.”

What a shame. McCarty should probably heed the advice of one of his songs and keep a stiff upper lip.