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Tom Woodin

acceptance of a variety of overlapping motivations. Tony Harcup, a member of Basement Writers who went on to edit Leeds Other Paper, became inspired by the idea of producing culture, a fluid energy that could be channelled in a number of directions: ‘Had it been three years later we’d probably have started a DIY punk band instead!’103 Other writers, such as Alan Gilbey and Tony Marchant, would also adopt a do-it-­ yourself punk ethic. In addition, discussions of class and culture were not restricted to small groups of committed socialists. Television was the key medium for

in Working-class writing and publishing in the late twentieth century
From sick talk to the politics of solidarity
Sean Parson

respite tucked into the woods of the University of California San Diego campus that was also only a short drive or bus ride from my parents’ house. The place served as a safe haven for San Diego anarchists, punks, and youth. It is a music venue, vegan coffee shop, anarchist infoshop, and student community space, all rolled into one. In between the bands, and while eating vegan stir-fry, I was introduced to political movements and struggles through spoken-word performances, political documentaries, and activist tabling. It was the place where I first learned about vegan

in Cooking up a revolution
Rowland Atkinson and Sarah Blandy

, Zimmerman responded, ‘Fucking punks … they always get away’ (Walker, 2013: 5), and took direct action himself, with fatal results. Guns and other weapons Weapons are usually involved when a homeowner, rather than becoming a passive victim, fights back against an intruder and causes death or serious injury. There is a sharp division over types of weapon between the USA on the one hand and the UK and Australia on the other, due to rates of gun ownership and regimes for licensing firearms. In the USA, there are approximately 300 million privately owned firearms; the number

in Domestic fortress
Dana M. Williams

as a response to fascist organizing within skinhead punk subculture. Anti-racists united together under the auspice of ARA in order to confront fascist organizers in their Minneapolis subcultural scene and to drive those people out of that community. Racist skinheads ended up in next-door St. Paul, Minnesota (McGowan 2003). The newly formed ARA took their name from the British Anti-Fascist Action (AFA) which had formed only two years earlier (Snyders 2008).10 After beginning in Minneapolis, ARA spread through the Midwest to Toronto, Columbus, and Chicago, and

in Black flags and social movements
Nazima Kadir

Amsterdam, the son of an architect and a school nurse, both of whom professed leftist politics. He was raised to call them by their first names and dislikes describing his class background, refusing to, as he says, “put himself into a box.” As a fifteen-year-old punk sporting a Mohawk, he became involved in the squatters movement when he read a newspaper article interviewing squatters who were preparing for the eviction of their mansion. Excited, he skipped school to help with the barricading. Having spent half his

in The autonomous life?
Abstract only
Revisiting the 1980s through a generation lens
Ljubica Spaskovska

. of desire –​from the lived experience of abundance’.95 The detected ‘conformist optimism’96 was without doubt closely related to a sense of geopolitical stability in the context of the Cold War and a perception that Yugoslavia and its institutions were relatively strong, likely to last for another hundred years, as Gregor Tomc (born 1952), member of the punk band Pankrti and sociologist, put it. Indeed, there was a shared perception similar to the one in the Soviet context that ‘everything was forever’.97 The fact that this type of question was asked in the survey

in The last Yugoslav generation
The politics of homeless resistance
Sean Parson

thousands of active supporters in the Bay Area, including the punk band Green Day, which played a benefit concert to help cover Food Not Bombs’ legal fees. Internationally, the press from San Francisco helped expand and galvanize the overall Food Not Bombs movement as the group expanded from 40 chapters in 1992 to nearly 100, including chapters throughout Western Europe and South America, by 1995 (Crass, 1995). In effect, Food Not Bombs provided a constant public check on the mayor’s anti-homeless politics. They also resisted the mayor’s attempts to make the homeless

in Cooking up a revolution
Fourthwrite and the Blanket
Paddy Hoey

inspiration was primarily the style and spirit of the Southern Californian punk fanzine Flipside rather than An Phoblacht: ‘I was introduced to this world through fanzines and free information sheets at record stores and I soon started doing my own fanzine. The Do-It-Yourself ethic, that anyone could make their own media was always important to me.’57 However, it is remarkable that her vision for her magazine instinctively drew on a culture of dissent which sought to highlight inconsistencies within mainstream republican dogma as the older mosquito press had done sixty

in Shinners, Dissos and Dissenters
Open Access (free)
Emotion, affect and the meaning of activism
Hilary Pilkington

in general was barely referenced by respondents in this study. Ian posted YouTube clips of the Swedish singer Saga (known to many for her Skrewdriver tributes) to his Facebook page, but when challenged about this (since he rejected white supremacism), he claimed to like the songs but not the ideas behind them (field diary, 18 May 2013). Other respondents dismissed what they called such 194 Loud and proud: passion and politics in the EDL 7.6  Symbolic violence in protest ‘Nazi music’ (Lisa) and expressed preferences for punk or ska music. Rachel attended a local

in Loud and proud
Abstract only
Creative resistance to racial capitalism within and beyond the workplace
Agnieszka Coutinho, Jay Gearing, and Ben Rogaly

appreciate creativity as very much part of our everyday lives and our ways of being in the world; creativity, in other words, as a daily practice proliferating in the ordinary spaces in which we live our lives; our homes, our streets, our communities and our environments. (Hawkins 2017 , 8–9) My chosen creative channel outside of work was music, specifically the do-it-yourself punk scene of the late 1990s. I was angry, I was disillusioned and there was a feeling that none of this was

in Creativity and resistance in a hostile world