WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
Latest editorial
Revelatory exposé of Britain's nazi acolytes during WWII
From aristocrats to hairdressers, Tim Tate’s book unearths the Hitler followers aiming to undermine the war effort, says TOM KING
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
PETER MASON is tickled by a new book and exhibition that mine the rotten anachronism of the monarchy for laughs
A Nazi zeppelin whodunnit, death amidst detoxification, a twistaholic’s delight, and noir fiction for criminals
STEVE JOHNSON salutes the mellifluous tones and clear-minded political message of a uniquely relevant Birmingham-born singer-songwriter
STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
Hitler’s British Traitors: The Secret History of Spies, Saboteurs and Fifth Columnists
by Tim Tate
(Icon Books, £25)
IT’S not unheard of for terrible people to hide behind ridiculous names and Dr Leigh Francis Howell Wynne Sackville de Montgomery Vaughan-Henry is no exception.
The celebrated conductor, musician and author was a leading figure in Britain’s so-called fifth column of nazi sympathisers. A diehard fascist and violent anti-semite, his aim in the run-up to the second world war was to expedite Britain’s transformation into a fascist regime under the auspices of the Third Reich.
Similar stories
RON JACOBS welcomes the long overdue translation of an epic work that chronicles resistance to fascism during WWII
JAN WOOLF wallows in the historical mulch of post WW2 West Germany, and the resistant, challenging sense made of it by Anselm Kiefer
TOMASZ PIERSCIONEK relishes a collection of cartoons that focus on Palestine from the period 1917 to 1948
CHRISTINE LINDEY welcomes a fascinating survey of the work of the communist and socialist artists who founded the AIA in the 1930s