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Hicks often discussed popular conspiracy theories in his performances, most notably the assassination of President John F. Kennedy. He mocked the Warren Report and the official version of Lee Harvey Oswald as a "lone nut assassin." He also questioned the guilt of David Koresh and the Branch Davidian compound during the Waco Siege. Hicks ended some of his shows, especially those being recorded in front of larger audiences as albums, with a mock "assassination" of himself on stage, making gunshot sound effects into the microphone while falling to the ground.

Here's what drives me crazy about time travel books. In (almost) every single one of them, the time traveler's most notable experience is meeting other people who aren't time travelers; who were, in their proper moment, just famous as all hell.

Jason Sheehan knows stuff about food, video games, books and Starblazers. He is currently the restaurant critic at Philadelphia magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns. Tales From the Radiation Age is his latest book.

Our respectable books of history tell us that the Knights Templar was a rich and powerful but relatively brief-lived chivalric order of the late Middle Ages in Europe. It was founded in 1119 and torn up root and branch by a jealous King Philip IV of France and Pope Clement V in 1312. After that, it played no further role in history. Or did it?

> For all their convoluted complexity, conspiracy theories are the comfort food of armchair historians. They state that the sweeping tides of history are not the result of diffuse, variegated, and ofttimes unease-inducing social and political impulses, but can instead all be explained by whatever shadowy cabal they happen to be peddling.

Alan Moore came to the same conclusion:The main thing that I learned about conspiracy theory, is that conspiracy theorists believe in a conspiracy because that is more comforting. The truth of the world is that it is actually chaotic. The truth is that it is not The Iluminati, or The Jewish Banking Conspiracy, or the Gray Alien Theory.

Death in June (DIJ) is not a typical white power nazi band - they do not shave their heads, sing about lynching Blacks or rant about Jewish conspiracies. Nonetheless, DIJ's unabashed support for fascist ideology and aesthetics is just as strong. Their use of fascist symbolism goes far beyond shock tactics, and ultimately the artistic and philosophical message they put forward serves to create an interest and acceptance that fascist cultural activists can exploit. This is particularly dangerous at a time when the white power music business generates millions in sales each year and fascists increasingly seek to gain a foothold in new subcultures, particularly the goth, neofolk, experimental and industrial scenes. Douglas Pearce, the singer/songwriter and central person in DIJ, has always been careful to conceal his true political beliefs and avoid controversy, but a close examination of DIJ's interests and activities reveals where his loyalties lie.

The name "Death in June" refers to June 30, 1934, the "Night of Long Knives", when Hitler had Ernst Roehm and other leaders of the SA (nazi stormtroopers) murdered. Roehm and his faction were highly critical of Hitler policies (make no mistake-they were still fascists) and are associated with a branch of fascist ideology National Bolshevism, spearheaded by Gregor Strasser. The National Bolsheviks argued for a more socialist version of fascism and criticized Hitler\rquote s reliance on industrial capitalists. (Today, this branch of fascism is called the Third Position.

DIJ repeatedly use fascist and nazi symbols on their albums and on stage, including the Death Head (worn as a pin by nazi SS soldiers), the Life Rune (a pagan symbol commonly used by fascists) and the Black Sun (another rune used by the SS). Likewise, members of DIJ have often worn nazi Waffen-SS uniforms on stage.

On their "Brown Book" LP, DIJ published the Horst Wessel song, the marching anthem of the SA and later the official song of the nazi party. Their song "Circo Massimo" from their "Take Care and Control" album loops a chorus from a fascist marching song. The title of their "Operation Hummingbird" album comes from a nazi military operation aimed at creating anti-gravity aircraft.

Also in 1992, DIJ backed out and refused to play the Dark X-Mas festival in Hamburg after the organizers issued a statement condemning a spate of fascist attacks on immigrant asylums in Germany. Likewise, DIJ also refused to play a 1994 Festival of Darkness because the show was promoted as being against racism and neo-nazism.

DIJ songs were published on a 1996 tribute to Leni Riefenstahl, a well-known Third Reich director/cinematographer. The CD was published by VAWS (Verlag und Agentur), a right-wing record-label run by Werner Symanek, who is part of the right wing in Germany and active in cultural work. VAWS has released similar tributes to nazi artists such as Arno Breker and Josef Thorak.

The ArgumentSome would argue that DIJ does not support fascism/nazi-ism, but that they just use fascist imagery and symbolism either for shock value or because they simply find them aesthetically pleasing.

This argument can be taken several ways. On one hand, we are to believe that because it is artistic, that there is no political content to it. Though we question this notion (in our view, everything is political), even if we didn't we would question the wisdom of spreading an aesthetic that is the basis for a fundamentally anti-human, anti-freedom philosophy without offering any sort of critique whatsoever. An exploration of fascist imagery could be interesting if it were juxtaposed with an exploration of the inherent dangers of fascism, but DIJ does nothing of the sort. In fact, their handling of nazi symbolism can be more accurately pinpointed as a celebration of fascist ideals. Nazi uniforms may look sharp, but ultimately the people that wear them leave something to be desired. Considering the growth of fascist movements in both Europe and North America over the past decade, and the attempts these fascists are making to spread their ideology, we can only view the promotion of fascist aesthetics as na\'efve at best, dangerous at worst.

On the other hand, we are to believe that DIJ's use of nazi symbolism is just a tired, old marketing gimmick, a form of fascist pornography that uses controversy to garner attention and sales. According to this view, DIJ's pro-fascist stance is just a meaningless marketing ploy. Even Douglas Pearce has said, "Obviously people have fallen into the trap of taking it on a surface value. That is their problem." Unfortunately for Pearce, it is a problem for him as well since the use of such symbolism has and does attract the attention of actual fascists (see above). By creating an atmosphere where fascist aesthetics and philosophy are supported, Pearce and DIJ are drawing fascists in - and they do nothing to discourage this, despite being called on it for over a decade. At best this is irresponsible, at worst reprehensible.

Douglas Pearce is gay, so how can he be a nazi/fascist?There is a documented history of homosexual participation and support within fascist movements, despite the fact that most fascists count homosexuals as enemies. There is also the distinct possibility that Pearce is so interested in Ernst Roehm because Roehm was homosexual, just like Pearce is.

Boyd RiceLike Pearce and DIJ, Boyd Rice has consistently embraced fascism throughout his career as an experimental noise artist. In addition to wearing fascist uniforms and imagery and giving nazi salutes on stage, there is wide range of evidence indicating that Rice is a nazi at heart.

Rice has been known to sell at his shows and read as part of his performance from a racist, anti-Semitic book called "Might is Right", by Ragnar Redbeard. "Might is Right" includes an afterword from George Eric Hawthorne, the former singer of the neo-nazi band RAHOWA (RAcial HOly WAr) and founder of the white power music label Resistance Records. The book was edited by Katja Lane, wife of the imprisoned David Lane, a neo-nazi member of the Order that committed several armored car heists and murdered Jewish talk-show host Alan Berg in the 1980s. Proceeds from the book go to support David Lane and similar white supremacist political prisoners.

Though Rice claims not to be racist or neo-nazi, he does not deny that he is a fascist and social Darwinist. According to an interview by Misanthrope, he said: "I feel that I'm a fascist, but Nazi is a real specific term. I'm a fascist in the sense of the modern bastardised meaning of the word. I'm completely against democratic values and liberalism. (read the interview)

Moynihan published the book "Siege" by neo-nazi James Mason. Once a member of the American Nazi Party, Mason now belongs to the Universal Order, a group that sees Charles Manson as the next Hitler. Mason is currently serving time in Colorado for menacing with a deadly weapon.

SourcesChristian Dornsbuch, contributor to RechtsRock, Bestandsaufnahmeund Gegenstrategien and Asthetische Mobilmachung (German books concerning fascist influences in music scenes).

What are you claiming is that one of the most influential neofolk bands out there, if not the most, is nazi. You're not the first, nor the last one to claim this. While they do use nazi imagery, I will quote the Slovenian Slavoj Szizek:

Boyd Rice has made appearances in white power tv shows, ku-klux clan dressings, world-war-two imagery photos and so on, and so on. He has done this, as well as acting like Dmitri Medvedev or dressing like Saddam Hussein, or even wearing t-shirts with pink swastikas on them. While this guy has a views you may dislike, he is far from the nazi ideology and most of the thing he does must be viewed as prank.

If you are interested in Death in June's/Boyd Rice's music and their 'Social Darwinism' political ideas, I recommend you to check them out at Mute Records. You know that ultra-fascistic label, the one that produces the music of those nazis Depeche Mode, Moby, Hovercraft, etc. 2b1af7f3a8