According to your article the Crass logo was design in 1977. The Spectrum logo predates it by about 10 years in that case then (it aired on ATV in september 1967). 

Originally conceived and intended as the cover artwork for a self-published pamphlet version of Christ’s Reality Asylum by Penny Rimbaud, the Crass logo represented an amalgamation of several “icons of authority,” including the Christian Cross, the swastika, and the Union Flag, combined with a two-headed Ouroboros to symbolise the idea that power will eventually destroy itself.[16][17]
Using such deliberately mixed messages was part of Crass’ strategy of presenting themselves as a “barrage of contradictions”, which also included using loud, aggressive music to promote a pacifist message, and was in part a reference to their own Dadaist and performance art backgrounds.

It sort of reminds me of Laibach and their co-opting of totalitarian symbolism, though I’ve been entirely sure what their plan is. It seems to be somewhere between “parodying it as a means to compare fascism and aspects of modern society”, “making the totalitarian symbolism less powerful by dilution”, and “we think it’s stylish”.

Relatedly, there is a well-known case of censorship on the part of the German security apparat around the anarcho-punk crust band Doom’s record cover for “Police Bastard”. The image features an obviously derogatory image of a bobby, flipping off the camera, with a swastika drawn on his helmet. As the rest of the image and the content of the record make clear, this is in no way designed to glorify Nazism, but it was still seized under the anti-swastika laws.

The overall point should be, I think, that part of the meaning of the Crass symbol is that contemporary manifestations of neo-Nazism and other forms of fascism are not magically negated by the banning of a certain symbol or set of symbols. For those who aim to attack and disrupt fascist organizing in their own communities, open eyes are critically important. Sticking your head in the sand and pretending that we can blot out the continuing threat of fascism simply by acts of state censorship or middle-class disapproval is a sure recipe for disaster.

Hello, young bad-ass, may I interest you in a Che Guevara t-shirt?

EDIT: How ’bout a belt to hold up them trousers while we’re at it

Bravo/That was very foolish of you, Crass Symbol!

Neonazi groups from Athens, to Warsaw and San Fransisco all sport emblems which are unfortunately very very similar.

When I first saw the logo I assumed Crass were some sort of National Front skinhead Oi! group.

We can dispute just how many people are likely to jump to this conclusion but that fact is *some* people do because of the logo.   

It’s just what he said in the article above.

But then again, as a German I operate in a quite different cultural context than the designer. 

As I said above, this isn’t meant to impugn the designers or users of the symbol. It’s just a description of my own automatic response to the image.

First of all, for those who can’t get the association with a swastika out of their head, his choice of symbols, the serpent and cross, and what they and their juxtaposition represent for him. Was it, for instance, inspired by the Flamel/Alchemical Cross, or even Numbers 21:9?

And secondly, his thoughts on litigation over Hardware’s appropriation/infringement, both in a practical sense and in the context of his radical anarchist ideas (at the time).