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Thrust of argument: Alexander Reid Ross writes 'Neither Slayer nor Marilyn Manson contributes money to genocidal causes. On the other hand, the singer of Death in June visited a genocidal Croatian militia during the ethnic cleansing of Serbs in 1992, recorded an album called 'Something is Coming' from Croatia at that time, donated to a Croatian nationalist military hospital, and has reportedly called Serbs 'barbarians,' declaring his decision to give substantive support to the genocide to be a 'cultural' and 'Euro-socio' decision (I hardly think that this approach is defensible in terms of Guy Debord's Situationist theory presented in Society of the Spectacle; in fact, it appears more like a reproduction of the spectacle of European nationalism and white pride). Slayer and Marilyn Manson also did not publish music on far-right-wing record labels, whereas DIJ has published songs on extreme-right wing compilations (such as one commemorating the Nazi propagandist and documentarian, Leni Reifenstahl, whom Susan Sontag wrote up as a fascist long after the end of the war in the essay 'Fascinating Fascism'); neither do they belabor Nazism as the principle aesthetic aspect of their approach. Slayer and Marilyn Manson also have not applauded atrocities against immigrants and people of color, whereas witnesses state that DIJ's lead singer once dedicated a song to the 'White Wolves' (who bombed two markets in England, killing 3 and injuring more than a hundred back in 1999).' Direction of resistance / implied resistance: Reid Ross is writing about an openly fascist American band called 'Death in June'.

 

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Removal of resistance: In the course of protesting this fascism, some of Reid Ross's experiences should be particularly interesting to historians: 'I reminded the promoter and the venue that the Alhambra Theater, where the event was planned to take place, is named after the historic scene of the Spanish Reconquista, where the Christians defeated the Muslims in that portentous year, 1492. The Alhambra is a symbol of Crusades, Islamophobia, and the ensuing expulsion of the Jews and Spanish Inquisition, and the music venue would be forever be associated with politically right-wing ideas by inviting a reactionary band to play when no other venue in Oregon would let them play. My post and the ensuing comment thread, which the band’s promoter assured me were very reasonable and levelheaded, have since been deleted by the page’s administrator.' Unification: And this bit should be of interest to everyone, especially the judiciary: 'About halfway into the night, a brawl broke out. I don't know who started it, because I was holding a red 'Antifascist Action' banner adorned with black and red flags in front of my face. According to the testimony of a beleaguered security guard with whom I spoke at the end of the night, the fans had drawn a protestor into the scuffle by saying something like 'come over here and, blah, blah blah'—something that they were repeatedly told not to do by the guards. After the brawl, which involved what appeared to be eight or so people, somewhere around nine cop cars showed up, and the antifascist side began to chant, 'No Nazis, No KKK, No Fascist USA!' We kept seeing this bizarre mixture of goth-punk, indy, hipsters, and Nazi skinheads file somewhat timidly into the auditorium as though out of an episode of Portlandia. One lady of color dressed in Goth attire shouted at the crowd of antifascists, 'Why are you protesting here when you don't do anything about immigration?''
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(TVhobo's estimated size of readership since 2013, mainly in the UK and USA, with Germany in third place:
over 200,000 readers across approximately 200 cities/towns

 

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http://www.counterpunch.org/2014/11/14/fighting-the-trojan-horse-of-hipster-fascism/

 

 

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