Fashion Statement or Counterculture: “What’s Left?” July 2016, MRR #398

FashionStatement
I attended a “Faces of Death” party in San Diego between 1980 and 1982. I don’t remember the exact date as I was drinking heavily at the time, and some details are pretty much a blur from those days. “Faces of Death” was a film compilation of various explicit on-camera death scenes—half of them fake—which led to a movie series, and then a horror genre. I’d heard that Boyd Rice organized the party, not around a video showing but in honor of the suicide of Joy Division singer Ian Curtis. The living room had a shrine set up, with black and red altar cloths and lit tapered black candles featuring a framed picture of Ian alongside one of Adolf Hitler. Boyd hadn’t yet transitioned into full-on racist fascism, so this was him being transgressive and oh-so-naughty. The soundtrack for the evening, besides Joy Division, included Throbbing Gristle, Boyd’s band Non, Cabaret Voltaire, and others.

I found the whole party morose and boring, and left soon after arriving, no doubt in search of more alcohol. But all the future dark tribes, from Industrial to Goth, were present in embryo. I’ve told this story many times before. What’s brought it to mind now was Genesis P-Orridge posting on his FB page a slick conspiracy video-remastering of the hoax “Protocols of the Elders of Zion” using the Rothschild family. I’m FB friends with several anti-fascists, and the reaction was intense. One individual in particular, someone whom I’d been corresponding with back and forth since before FB when he was commenting on my political blog, stated that he was distressed over what Genesis had done because he really liked both Throbbing Gristle and Psychic TV. In the FB exchange, I realized I harbored prejudices born of that experience some 35 years prior, that a “certain kind of music” invariably leads to fascism.

I should have known better. In my Hit List review of Craig O’Hara’s book “The Philosophy of Punk” I’d argued against his idea that punk is inherently anarchist by contending that no type of politics is innate to punk as a genre of music. Aside from a visceral rebellion often characteristic of youth, it’s really all just about sex, drugs and rock’n’roll. I also didn’t learn from my about-face on country western music, when I came to appreciate Hank William’s Sr. and not to categorize the entire musical genre as “redneck.” And yet, country western music is consistently associated with conservative politics, punk rock with anarchism, and industrial/goth music with fascism. How can we account for these persistent connections without labeling them innate or inherent?

Which brings us to the relationship between music and politics. I’m sick and tired of writing about the elections anyway and besides, the Democratic and Republican National Conventions are playing out even as this issue is being sold on newsstands.

“If the right kind of beat makes you tap your foot,” Frank Zappa once said, provocatively. “[W]hat kind of beat makes you curl your fist and strike?” Zappa was ardently anti-censorship, so this bit of hyperbole was meant to highlight the complex relationship between music and other forms of human behavior, not to nail it down. However, I will attempt to do just that by mediating the links between music and politics through the lens of counterculture. Let’s begin with the mother of all countercultures, the hippie counterculture. Forgive me if what follows is painted in broad strokes. The making of that counterculture, to paraphrase Theodore Roszak, involved the merging of a genre of music influenced by folk, blues and rock with various unconventional lifestyles from the Romantics, Bohemians and the Beats, all in opposition to the prevailing Establishment culture of the day. Rock music and bohemian hipster lifestyles overlapped, and the counterculture was born from their interaction on this common ground.

Characterizing the hippie counterculture as all about “peace and love” is simplistic but fair, even as it misses the communalism underlying that social movement. Plenty of hippies like Stewart Brand had a philosophical hankering for capitalist libertarianism, and many others went on to become successful entrepreneurs. But the 60s were all about communalism—about crash pads, coops and communes—and as such the counterculture countered competitive American individualism. Hippie communalism was central to a naïve back-to-the-land movement, which laid the basis for today’s concerns with vegetarianism and organic agriculture. This conscious collectivism accounts for the incipient anarcho-leftism of much of the hippie counterculture, and it also explains the New Age fascism evident in other aspects. And to call the politics of the hippies collectivist is vague at best.

The 60s counterculture encompassed millions of young people around the world and by the Death of Hippie (dated 1967, 1968 or 1969, depending) there were already inklings of a smaller counter-counterculture in the making. Proto-punk music was emerging, and there was a growing disdain for the hippie “peace and love” mentality as too idealistic and impractical. Anger and aggression replaced those hippie sentiments—expressed in sayings like “search and destroy” and “fuck shit up”—and hippie communalism mutated into punk collectivism (squats, punk houses, venue collectives, etc.). DIY became the byword of punk action and the whole package, while not explicitly anarchist, tended toward the politically anarchic.

Also in reaction to the hippie counterculture, but somewhat later in time and still smaller in numbers, the industrial/goth/dark counter-counterculture took shape. There were distinct types of music and kinds of collectivism (Throbbing Gristle came out of the COUM Transmissions art collective and Laibach is part of the NSK art collective), but the doom and gloom of this scene was augmented by an intense obsession with all that is transgressive. And my argument paralleling punk rock is that while there was nothing in the industrial/goth/dark music scene that was inherently fascist, the fascination with being “oh so naughty” and transgressive also accounts for the tendency toward fascist imagery and even politics in the music.

This oversimplified history is not prescriptive, but descriptive. I’m trying to explain political trends without arguing that certain politics are innate to certain musical genres. Hippie peace and love was far different from punk anger and aggression or industrial/goth doom and gloom. But, apart from youthful rebellion and a desire to épater la bourgeoisie, these countercultures and counter-countercultures had at least three things in common: communal structures, DIY motivations, and transgressive impulses. Hippie communalism was intensely DIY, with the Whole Earth Catalog epitomizing the era. But hippie transgression was unashamedly hedonistic. I would contend that this counterculture went the furthest toward parrying the prevailing culture and creating a viable, wholistic alternative society that escaped simple left-or-right politics. In reacting against bourgeois society and the hippie counterculture, punk and industrial/goth further narrowed their respective cultural arenas, and further fragmented the wider society into numerous contending, jostling subcultures. Punk was violently transgressive, but its DIY emphasis was central, implying anarchistic politics. And industrial/goth was as DIY as punk, but it was the fascination with transgressive naughtiness that accounts for that counter-counterculture’s infatuation with fascist symbolism, which often spilled over into actual fascism.

Of course, it can be argued that whether it’s culture, counterculture, or counter-counterculture, the Western context for all of this is bourgeois individualism. From the libertinism and “do your own thing” of the 60s, the emphasis has been on the individual through punk and industrial/goth, various forms of communalism notwithstanding. Even to say that “it’s only rock and roll” is to acknowledge the primacy of this socio-political context for the cultural rebellions from the 60s onward.

I published an anarcho-punk zine called San Diego’s Daily Impulse from 1985 through 1989, which I distributed free at shows and to record stores. As part of that zine, I and a small group of friends put on an Anarchy Picnic in May, 1985. Several hundred people gathered to share food and beverage, acoustic music, and activities like frisbee and hacky-sack around literature tables, chalk, and sheets of butcher paper sprinkled with crayons and paint in Balboa Park. It was clear at the Anarchy Picnic that divisions like hippie, punk and goth were ephemeral, that tastes in music and fashion were not rigid, and that people mixed-and-matched scenes and countercultures as they desired. In the midst of this sunny picnic, with all the fun and frivolity, a couple strolled into the park wearing full Nazi Sturmabteilung uniforms, complete with prominent swastika armbands. The man was an SA-Gruppenführer, the woman his she-wolf of the SA, and together they walked a pair of Dobermans. They feigned being haughty and aloof, but it was clear that they pranced and preened over being so naughty and transgressive in their Nazi regalia.

No surprise, the Anarchy Picnickers ignored them.

National-Bolshevism, communism of-by-for fools: “What’s Left?” February 2016, MRR #393

Wir tanzen mit Faschismus
Und roter Anarchie
Eins, zwei, drei, vier
Kammerad, komm tanz mit mir

Laibach, “Tanz Mit Laibach”

You probably won’t be surprised to learn that Laibach has been accused of glorifying fascism in the past to which their response has been: ‘We are fascists as much as Hitler was a painter.’ Which I assume means they are fascists, they’re just very, very bad at it.

John Oliver. “Laibach goes to North Korea,” Last Week Tonight #45 (7/19/15)

It’s been close to a century since Karl Radek popularized the concept of National Bolshevism. It was June of 1923, after the successful workers’ revolution in Russia and a failed one in Germany which ended the first World War. As the Secretary of the Third International—the Communist International or Comintern—Radek hoped to rally support and solidarity among disaffected German rightwing soldiers, veterans and rank-and-file nationalists for the besieged Soviet Union. The goal was to firm up an alliance between the German Reichswehr and the Russian Red Army, irrespective of the interests of their different working classes, and to this end Radek made an infamous speech in the Executive Committee of the Comintern called “Leo Schlageter: The Wanderer into the Void,” which was endorsed by both Stalin and Zinoviev. Radek praised Schlageter—a conservative WWI veteran who joined the German paramilitary Freikorps to suppress the German workers’ soviet revolution of 1918-19 and who then was executed for sabotage against the French occupation army of the Ruhr—as a national hero and argued that “[t]he insistence on the nation in Germany is a revolutionary act.”

Long before the present-day red-brown alliances in Russian politics, over a decade before the Hitler-Stalin Nonaggression Pact, Radek’s “Schlageter Line” imposed an opportunistic alliance between para-fascist ex-military types and Germany’s revolutionary leftwing working class via the ever-pliant German Communist Party, the KPD. This was a strategy of National Bolshevism for the KDP and the German working class, ultimately to defend the Soviet Union and further that country’s interest in an alliance with Germany. To seal this pact with the devil, KDP Zentrale shut down the insurrectionary Hamburg Uprising by the district KP Wasserkante on October 22, 1923. Radek and Trotsky quickly defended the decision to stop the insurrection by condemning the uprising as premature. What followed was nearly a decade of on again/off again collaboration between the KDP and the NSDAP in the streets and the Reichstag against the SDP-dominated Weimar Republic.

This attraction to National Bolshevism on Radek’s part came as much from his personal experiences in Moabit prison trying to convert reactionary German nationalists to Bolshevism as from his reading of two renegade Hamburg communists, Laufenberg and Wolffheim, who coined the term National Bolshevism. These national communists promoted the idea of a dictatorship of the proletariat in the service of German nationalism, the formation of a German Red Army, and a German-Soviet nationalist-socialist alliance in an all-out war against the US and UK. Sound familiar? Radek’s temporary and purely tactical “Schlageter Line” was part of a shameful history of Soviet and KDP intransigence, sectarianism and double-dealing that ultimately delivered the German working class into the hands of the Nazi Party in power, much as the PCE’s (Spanish Communist Party) machinations and red terror finally betrayed the Spanish proletariat to the clutches of Franco. Radek’s contribution to this debacle was to legitimize, for the first time as an official representative of the Comintern, the synthesis of right and left, ultra-nationalism with revolutionary socialism in Germany, that was the prototype for the obsessions of fascism’s leftwing thereafter.

To be fair, there were plenty of left-leaning German fascists in the 1920s and 30s, both inside the Nazi Party (Röhm, Gregor and Otto Strasser) and outside (van den Bruck, Jünger, Niekisch). And had the concept of National Bolshevism not existed in Germany by 1923, circumstance would have contrived something analogous, mirroring a common argument made about Hitler. But the initial willingness on the part of the Bolsheviks to cultivate National Bolshevism in Germany came to bite the Left on its ass. (Victor Serge said of the Schlageter tactic: “It’s playing with fire—all right let’s play with fire!”) The ideal of a red-brown, Soviet-Nazi, Russian-German alliance has been a goal of leftwing fascism ever since. From the NSDAP breakaway Combat League of Revolutionary National Socialists through the ultra-Zionist, anti-imperialist LEHI (Stern Gang) in Mandated Palestine to the left Peronist FAR-Montoneros guerrillas in Argentina’s “Dirty War,” the archetypal synthesis of revolutionary left and right epitomized by National Bolshevism has recurred over and over, much like a periodic, virulent outbreak of herpes. Most recently, the anarcho/ultra milieu has witnessed @ publisher AK Press accuse white South African journalist, writer and AK author Michael Schmidt of being a secret National Anarchist in league with Troy Southgate.

AK Press did its due diligence, thoroughly investigated Schmidt’s background, and determined that the rumors of his involvement in National Anarchism were true despite his outward adherence to an odd-duck anarchist Platformism. So AK stopped publication of his current book, removed his previous books from its inventory, and disseminated its lengthy, damning findings as widely as it could in the anarcho/ultra milieu. Schmidt’s story is that he is an anarchist and a journalist who was engaged in legitimate research of fringe fascist elements, and that every fact dug up by his detractors has another more innocent explanation. I think that the evidence is overwhelming that Michael Schmidt is at present a National Anarchist-identified fascist. Now, I really don’t care whether Schmidt infiltrated anarchism with his authentic NA fascist beliefs intact or simply developed his decentralized, tribal white nationalism “organically” over his time in the anarchist movement. The purported synthesis of revolutionary left and right that is at the core of National Bolshevism, National Syndicalism, National Anarchism, National Autonomism, ad nauseam—what this fascist tendency likes to call metapolitics—is a clear enough political signature for folks on the Left and the left of the Left to help screen against infiltration or “entryism,” or even genuine conversion.

Well done.

The issue is not jurisprudence or a fair trial or innocent until proven guilty or incarceration. Libertarians forget that, in promoting voluntary association, they automatically authenticate voluntary disassociation; everything from caveat emptor to outright ostracism. The anarcho/ultra milieu is just that—a milieu—and not a community, so its ability to put social pressure to bear is limited. Nevertheless, the option exists and needs to be exercised.

The initial opportunism and sectarianism that marked Bolshevik Russia’s attempt to set up a German National Bolshevik sock puppet does not account for the ongoing opportunism and parasitism of this fascist tendency’s constant attempts to piggy back onto the Left. But neither does it set up some sort of equivalency between socialism and fascism. This is not an argument either from Hanna Arendt’s sophisticated if misguided thesis in The Origins of Totalitarianism or its dumbed down High School version that, if one travels far enough along the extremes of either political Left or Right one circles back around toward its supposed opposite, and thus that all political extremism is essentially the same. There are plenty of credible differences that make a true distinction between extreme Left and Right—libertarian and totalitarian—which I’ve covered in past columns. Unfortunately, this sophomoric understanding of politics persists, as does its flip side, a kneejerk contrarianism. So, when a mendacious former columnist proclaims on Facebook by analogy to the original American revolution that “This time it’s TWO royal families,” the Bushes and the Clintons, from which we must declare our independence by voting for either Bernie Sanders or Donald Trump, the sheer knuckle-dragging idiocy is breathtaking. He was never the sharpest tool in the shed, particularly when it’s clear there’s no exaggeration, hyperbole or parody intended in his political analysis, such as it is.

What is involved is a sentiment akin to épater la bourgeoisie, the rebellious, indiscriminate desire to stick it to the establishment, which needs to be critiqued. The post-Romantic Decadents of the fin de siècle were fond of skewering the cultural banality, economic regimentation and political conformity of the stodgy middle-class society of their day. In this they prefigured virtually every rebellious Bohemian youth culture that followed, from the wandervogel to punk rock. Michael “Bommi” Baumann expressed this best in How it all Began/Wie Alles Anfing when he wrote: “You still didn’t feel like part of the left; but everything that was in opposition was good, including the neo-Nazis. […] Fascism as such was in opposition though, and you found pure opposition better than this petit-bourgeois mediocrity. You considered everything good that didn’t agree with it.” Or, as Sean Aaberg of Pork Magazine crudely puts it in protesting what he considers our “increasingly uptight society,” his magazine’s rebellion for its own sake and swastika iconography is “not suitable for squares” and a way of “outing closet totalitarians.”

As for Laibach’s sly lampooning of similar left-right political lunacy, return to the postmodern angst which begins their song “Tanz Mit Laibach” and defines the épater les bourgeois motivating much fascist courting of the Left:

Wir alle sind besessen

Wir alle sind verflucht

Wir alle sind gekreuzigt

Und alle sind kaputt
Von Reiztechnologie

Von Zeitökonomie

Von Qualität das Lebens

Und Kriegsphilosophie

Hooligan headers through the ages

This blog column is a digital version of my monthly analog column available on newsstands and by subscription from Maximum Rocknroll, an old-school newsprint punk rock zine. As of October 2015, MRR #389, my column header will look like this:

large action hooligan logo

I appropriated the image, a section header of sorts in its own right, from anarchistnews dot org under its new bite-sized collective regime. I’d been due for a change, although I’m not sure how long I’ll keep the more spikey street fighting/direct action imagery. It replaced this column header:

Hooligan Header

I changed to this column header under the influence of the 1999 battle of Seattle specifically and the anti-globalization movement generally, circa 2004. Over the years since, I got pranked, as with the April Fools column header below:

April Fools Column Header

April Fools Column Header

And, because I lay out the real analog MRR columns section of the magazine, I can sometimes insert one-offs, like the header for MRR #356/January 2013, here:

Hooligan Temp

I did manage to cobble together a replica of the column header previous to my long lasting anti-globalization one. It was based on a NYC street photo circa 1988-1992, but the original header has been lost. Yikes! That means I’m over 20 years younger in this picture!

old Hooligan Header

Briefly, I started working at MRR in 1991 after moving to the Bay Area. I began writing columns in 1993 with a couple of guest columns and then an ongoing news section column. I finally joined the rest of the regular columnists in 1995, and I’ve been writing this column ever since.

Of countercultures and temper tantrums: “What’s Left?” August 2015, MRR #387

Mildred: Hey Johnny, what are you rebelling against?
Johnny: Whadda you got?

Marlon Brando and Peggy Maley, “The Wild One”

They had lost politically but they had won culturally and maybe even spiritually.

John Lichfield (writing of the 60s generation)
“Egalité! Liberté! Sexualité!: Paris, May 1968”
The Independent, 9/23/08

If I had to describe my political philosophy, I would say: “Libertarianism now, fascism later.”

J.P. Nash

She was a child of Beatniks who came of age in the mid-1960s and lived in San Francisco. There, she was a part of the hippie counterculture, danced with Sufi Sam’s dervish troupe in Precita Park, attended the 1967 Human Be-In/Gathering of the Tribes in Golden Gate Park, and belonged to the Diggers. After the “Death of Hippie” event in the Haight-Ashbury, as well as a series of high-profile drug busts, she moved to a commune in Olema in 1969.

He was a red diaper baby born of Communist Party members and lived in Berkeley. There, he participated in the burgeoning New Left, attended UC Berkeley on a Vietnam War student deferment, helped organize the takeover of Provo Park, and was a member of Students for a Democratic Society. After the 1968 Chicago Democratic Convention, and the “Bloody Thursday” riot in Berkeley’s Peoples Park, he joined the Weatherman faction in 1969.

They met, fell in love, and married sometime at the end of 1970, beginning of 1971. Maybe it was at Vortex I, or during the Chicano Moratorium, or doing gestalt therapy at Esalen. Or perhaps it was at a Renaissance Pleasure Faire, or during the trial of the Chicago 8, or sitting in on classes at Black Mountain College. The exact date and place were never clear as she was hitchhiking around the country and he had gone underground after the Greenwich Village townhouse debacle. Besides, it was the 60s, or the second half of that decade anyway. If you remembered the 60s, you weren’t there. They stayed together a couple of years, even had a couple of kids. But they couldn’t make it work. She was indelibly eccentric and individualistic, New Agey spiritual and profoundly anti-political. He was rabidly political and atheistic, consensus-prone and surprisingly conventional. They got together on and off over the next decade or two, had a couple more kids, but finally decided to call it quits and finalize their divorce at the end of the twentieth century. True to form, they couldn’t agree when to do that, she insisting that it be at the end of 1999 and he at the end of 2000.

As the 1970s dragged into the 1980s, and then the 1990s, they lived their separate lives. She watched as most of what she believed in during her counterculture days entered the mainstream. Not only had sex, drugs, and rocknroll become commonplace, but so had a quirky entrepreneurial individualism and appreciation for alternative lifestyles. She eventually moved to Portland as an apprentice pastry chef, where she now owns a regional mini-chain of successful artisanal bio-organic paleo-grained brick oven bakeries, writes a popular food blog, and lives comfortably in the Pearl District. He watched as the Left he fought for retreated from the streets, ultimately to retrench in its final academic bastion. Not only had revolutionary politics and Marxism given way to identity politics and French postmodernism, but the Left’s scant successes had quickly dead-ended in political correctness. He eventually resurfaced with a teaching career in New York City, where he is now a tenured Sociology professor at NYU, lectures and writes on social movements, and lives comfortably in Park Slope.

And here’s where I walk away from my all-to-obvious analogy. My initial point is that pundits who proclaim that those who fomented the 1960s “lost politically, but won culturally” commit the most basic error of constructing a straw man out of the notion that there was one, unitary “60s generation.” There were two main currents to the 60s—the hippie counterculture and the Left/social movements—that share the coincidence of their proximate births and participant demographics, but little else. These two currents frequently interacted and occasionally merged, but ultimately they remained discrete, and experienced different fates. The hippies won culturally, and the New Leftists lost politically.

The conflation of different aspects of the 1960s is often not just an error of punditry, its a tactic of conservative Kulturkampf. Conservatives have long attempted to fabricate an imaginary, monolithic enemy-from-within, responsible for the decline of America and the corruption of its moral fiber since the 60s. The hedonistic hippie counterculture was in complete cahoots with a New Left become New Communist Movement, which was secretly in league with the Great Society welfare state, Democratic Party permissive liberalism, a mainstream media monopoly, corrupt socialistic unions, ad nauseam; thus inventing one sweeping, victorious anti-American juggernaut that every right-minded, freedom-loving, patriotic citizen needed to oppose by any means necessary. Culture wars have been the party line ever since the Reagan presidency. During that time conservatives moved American politics steadily, inexorably, to the right under an ideological variation known as neoliberalism, itself a supposed revival of 19th century classical Manchester liberalism. Because let’s make no mistake here, whether the counterculture won and the Left lost in the short run, capitalism wins out in the long run. The individualistic “do your own thing” hippies fit in perfectly with America’s self-reliant pioneer individualism and besides, everybody wanted to make money after the 60s.

I decided not to get cute and extend my original analogy to follow the children of my fantasy hippie/New Left couple by describing which one became a Wall Street broker versus which one became a punk rocker and so on. Most who went through the 60s as active participants, as well as their offspring, got jobs and became productive members of society, so what I’m interested in are those who rebelled against all that, even against the 60s, even for rebellion’s sake, oftentimes forming their own countercultures in the process. Rarely did such counter countercultural rebellions lump both “parents” into a single target however. Heavy Metal as a counterculture maintains a direct line of descent from the 60s counterculture, which makes its rebelliousness all rather conventional, even traditional. Punk rock rebellion was against “all that hippie shit” and created its own counterculture based on “do it yourself” and “fuck shit up.” But because punk was basically apolitical, it was easily swayed by politics, left or right, ultimately to descend into peace punks vs skinheads by the 80s.

There were those who had nothing against sex, drugs, and rocknroll, but who thought all that hippie “peace and love” was naïve bullshit. What chafed them unduly were the demands for political correctness which originated in academia, echoed around government and the media, and were blithely parroted by Gen X kids. These young white dudes, and they were mostly young white males, were angry about the influence of the PC Left in America. Inspired by the zine Answer Me! produced by Jim and Debbie Goad from 1991 to 1994, they created a rabid if limited anti-PC counterculture which, according to Spin Magazine, quickly transcended pissed off, working class whiteboy Jim Goad and his “fuck you and your feelings too” zine. There was the Unpop art movement, various publishing companies like Feral House, even an Angry White Male tour which featured Jim Goad, Mike Diana, Shane Bugbee, the Boone Bros., Skitzo, and King Velveeda. Lots of young angry white boys were plenty pissed that they now had to consider the perspectives of women, blacks, gays, and other minorities, and they believed their misogynist, racist, homophobic, frequently humorous invective was not “punching down” but rather “punching up” because, you know, liberalism and the Left were really in control.

Aside from Goad, the usual suspects in this post-60s contrarian counterculture included Boyd Rice, Brian Clark, Shaun Partridge, Adam Parfrey, Lorin Partridge, Nick Bougas/A. Wyatt Mann, Michael Moynihan, Larry Wessel, et al. As is invariably the case, antagonisms and rifts eventually split up these anti-PC counter countercultural bad boys, since they had really little in common other than their hatred of the Left, liberalism, and PC politics. Some drifted off into business-as-usual conservatism, others became neofascists, but most just wanted to make a buck. Their immediate heir was Vice Media, which at its inception as a magazine combined muckraking journalism with frat boy humor and soft porn skin mag aesthetics. What Lizzie Widdicombe described in “The Bad-Boy Brand” for the New Yorker as Vice’s early combination of “investigative reporting with a sensibility that is adolescent, male, and proudly boorish” has since been moderated for the sake of maximizing profit and moving into the mainstream. That leaves folks like Gavin McInnes—big Goad fan and ex-Vice cofounder fired for being unwilling to go along with the program—to continue the good fight ranting against the Left, liberals, and political correctness today.

One thing I find interesting is that right-wing libertarianism seems to be the default politics for those individuals intent on winning the culture wars while still snorting coke and watching porn. Goad might best be described as paleo-libertarian, while both Vice and McInnes are self-proclaimed libertarian. I think that claiming an absolute right to freedom of expression, aside from triggering such knee-jerk libertarianism, is invariably used as an excuse for their juvenile, rude, malicious, thuggish behavior. Once past hating on the Left, without their libertarian label of convenience, and no longer young, these angry white male morons would just be your run-of-the-mill GOP conservative good ol’ boys, maybe with a smidgen of neo-Nazi wingnut thrown in to keep things interesting. Said another way, scratch a Vice-like libertarian and you might just uncover a fascist.

Ethan A. Russell wrote: “In retrospect people often seem embarrassed by that time—the late sixties into the seventies—as if suddenly confronted with some lunatic member of your family, once revered, now disgraced.” (Dear Mr. Fantasy: Diary of a Decade: Our Time and Rock and Roll) Having experienced much of the 60s as a late hippie and New Leftist, I’m neither embarrassed by my life then nor do I revere that complicated decade now. I do think that efforts to frame things in terms of a singular “60s generation” are misinformed and flawed at best, and at worst help to construct a demonic hollow man out of the 60s as a conservative culture wars ploy. The Angry White Male shtick—with Goad for real and with McInnes as pose—will be around as long as political correctness persists. But that’s so, so boring.

(Copy editing by K Raketz.)

Dead rockers: “What’s Left?” September 2014, MRR #376

Why couldn’t it be Barry Manilow?

Detention, “Dead Rock n Rollers”

Punk’s not dead, but the Ramones are.

“Too soon?” Gilbert Gottfried might ask.

All four of the original, founding members of the Ramones are dead. Joey Ramone (Jeffrey Ross Hyman, 1951-2001) died at 49. Dee Dee Ramone (Douglas Glenn Colvin, 1951-2002) died at 50. Johnny Ramone (John William Cummings, 1948-2004) died at 55. And Tommy Ramone (Thomas Erdelyi, 1949-2014) died at 65.

Quite an actuarial problem, especially for calculating the lifespan of rock’n’rollers prone to living fast and dying young. According to statistics published by The Guardian (“How rock stardom can take years off your life,” James Randerson, 9-3-07) “of the 100 performers in the sample who died early, the average age was 42 for North American stars and just 35 for those in Europe.” A more comprehensive followup study conducted by researchers at the Center for Public Health at Liverpool John Moores University and published online in the British Medical Journal (BMJ Open) on 12-19-12 concluded that rock stars have “a nearly one in ten chance of dying prematurely.” The study was neatly summarized by Billy Jam as follows: The study, which looked at the lives of approx 1500 UK and European, and US music stars between the years of 1956 and 2006 in pop and rock music, determined that 9.2% (137 artists) of them died prematurely. Furthermore the study determined that solo artists, compared with members of bands, had a twice as high chance of dying prematurely. The study also found that the average age for American artists to die prematurely was 45 while it was six years younger for the average British and European artist. Which means that the Ramones, all four original members, actually lived well past their prime. By these standards Joey, Dee Dee, Johnny and Tommy were old farts when they kicked.

There are a slew of second string Ramones out there. Marky Ramone (Marc Steven Bell) is still alive at 58 years old, as are minor members C.J. Ramone (Christopher Joseph Ward, 48), Richie Ramone (Richard Reinhardt, 58), and Elvis Ramone (Clement Bozewski, 58). This skews even further the dead rock’n’roller actuarial tables. Then, consider the statistical impact of the so-called “fifth Ramone.” Arturo Vega (1947-2013), the artist and designer who created the Ramones logo and is often called the “fifth Ramone,” is promising because he’s dead, but not so auspicious because he was 65 when he died. Other candidates for “fifth Ramone” include the group’s longtime producer Ed Stasium, and the band’s tour manager Monte A. Melnick, both still very much alive. The Ramones may have been inducted into the Rock and Roll Hall of Fame, but they win no awards for living the rock’n’roll lifestyle into an early grave.

Christ, I’m still within the Ramone’s mortality age range. I would have been two or three years behind them in school. The first Ramones album I owned was “Rocket to Russia.” The first Ramones show I attended was at San Diego State University in 1979 or 1980. I don’t exactly remember the year, let alone the exact date, as I was drinking quite heavily. I was completely into punk, more so American than English. Sure, English punk was bigger, anti-establishment and more class conscious. The American scene was smaller, anti-social, and less political. Whereas in England, punk was more melodic and dare I say tradition based, American punk was more entertaining and experimental. Hardcore and skate punk emerged from the American scene, whereas reggae and oi! influenced English punk. The Ramones were quintessential American punk.

No doubt about it, the Ramones and the punk they helped inspire were central to my life after 1977. When I was vacationing in New York City during the late 1980s, I was walking with friends, talking about how The City was ground zero (no pun intended) for celebrity watching. At that instant, Joey Ramone walked past us into the seedy, hipster infested St. Mark’s Hotel and I was open-mouthed and overawed. Me, the rabid ultraleft “destroy what destroys you” “Lefty” Hooligan, was suitably star struck. Ah hell, I’ll admit it. I’m sad that the Ramones are all dead and that there’s no chance for any kind of reunion tour. I’m angry that punk rock ain’t what it used to be and that this magazine can barely survive. I’m annoyed to be reminded of my mortality and of the impermanence of everything I enjoy.

R.I.P. Joey, Dee Dee, Johnny, and Tommy. R.I.P. The Ramones.

Anarchist purges anarchist, no news at 11: “What’s Left?” August 2014, MRR #375

It’s an infamous MRR cover. Number 130, March 1994. Tim Yo designed it, although I don’t remember who put it together. A slew of Marvel Comic style action figure characters surround the headline “Superheroes of the Underground??” A bald buff super skinhead labeled Hawdkaw Man, further marked with A.F. for Agnostic Front, growls: “I stomp da pussies wit an attitude as big as my 20 eyelet Docs!!” Str8 Edge Man, a caped Superman clone with Shelter on his chest, proclaims: “I convert the hostile flocks with a 1-2 punch of Religion & Republicanism!” Pop Man, aka Green Day, reveals: “I lull my opponents into complacency with dippy love songs!” And the snark continues with snide remarks from Metal Man (The Melvins), Emo Man (Still Life), Vegan Man (Profane Existence), Grunge Man (Nirvana), and Arty Farty Man (sporting an Alternative Tentacles logo).

Tim put this cover together for the issue in which he announced MRR’s Great Purge, in which Tim proclaimed that nothing but the most primitive, the most basic, the most raw rock and roll would be deemed punk. That’s how punk rock began in the mid-to-late 70s; two or at most three chords, distorted and undifferentiated, loud and fast. Ignoring the debate over whether punk first began in the UK or USA, and disregarding whether it was the Ramones or the Sex Pistols that started punk, punk did not remain primal or simple or crude for long. Musicians brought their histories and influences to the music, the music cross-pollinated and hybridized with other music, and both the music and the musicians got more sophisticated with time. By 1993, punk was a welter of styles, categories and scenes. And by the end of 1993, Tim had decided to purge punk rock down to its roots and to restrict the magazine he ran, MRR, to this limited musical content.

I’ve described when Tim Yo announced the firing of Jeff Bale at a year end General Meeting in December of 1993. I’ve called that the Great Purge when, in fact, the most contentious agenda item at that meeting for most of the shitworkers present was Tim’s decision to severely curtail the kind of music MRR considered reviewable as punk. And Tim’s Great Purge was indeed two-fold—firing Jeff Bale and purging punk music. Tim was by no means a raving Maoist when he ran MRR, but he’d had his political upbringing in the New Communist Movement of the 1970s. I remember Tim discussing afterwards his strategy going into the December 1993 meeting, and I’ll liberally paraphrase it from a previous column: “I combined an attack on the right with an attack on the left. I cut down the stuff we would review as punk, knowing that Jeff would be one hundred percent behind my decision. At the same meeting I took out Jeff. I played the right and the left against each other, just like Stalin did.”

That Tim Yo might have been involved with the RCP at one time, or admired Stalin, or even sometimes ran MRR as Mao might are such a small part of what the man was or what he did. But it does help me to segue into my broader subject. While it is hard to apologize for Tim’s overtly authoritarian tendencies, it isn’t hard to admire his appreciation for punk rock’s musical purity. The urge to purify, the impetus to purge an individual, organization, art form, culture, politics, or society of incorrectness, error, impurity, deviance, corruption, decadence, or evil; that’s what I’m talking about here. For a recent and particularly insidious example of this, lets turn to anarchist politics in the San Francisco Bay Area and the efforts of identity anarchists to purge post-left anarchists.

I have little sympathy for either of the two tendencies acting out this sordid drama. Post-left anarchism categorically rejects the Left, from the social democracy and Marxism-Leninism of the Old Left to the Maoism and Third Worldism of the New Communist Movement that devolved from the New Left, as well as any anarchism that is in the least bit influenced by the Left. This is not merely a refusal of the Left’s ideological content, but of its organizational forms as well, from meetings run by Robert’s Rules of Order to various kinds of party-building. But nothing unites post-left anarchism beyond this negation, leaving a disparate gaggle of personalities in Hakim Bey (ontological anarchy/TAZ), Bob Black (abolition of work), John Zerzan (primitivism), Wolfi Landstreicher (Stirnerite egoism), et al, to frivolously romp through post-left anarchism’s vacuous playground. In contrast, identity anarchism is all about a positive if problematic relationship with the Left, from its ideological borrowings from Marxism-Leninism (imperialism, colonialism, etc.) to its lineage on the Left (via the quasi-Maoist Black Panther Party). The lame debates within the heavily Maoist New Communist Movement regarding the staid National Question contributed to the formulation of a “white skin privilege” theory (by way of Sojourner Truth/Noel Ignatiev) which, when suitably tweaked by proponents of “male privilege,” conjugated a critique of patriarchal white supremacy fully embraced by identity anarchism. Thus, identity anarchism’s embrace of Panther anarchism (of Alston, Ervin, Balagoon, Barrow, Jackson, N’Zinga, White, Sostre, following the BPP’s demise) seems almost an afterthought, offering no serious counterweight to the Marxism, Leninism, Maoism and Third Worldism it enthusiastically embraces.

I will use post-left anarchism and identity anarchism in the remainder of this column as convenient shorthand for generic categories, which means I will also overly simplify who belongs to what camp.

Post-left anarchism has a decent presence in the East Bay through Anarchy, a Journal of Desire Armed, the annual BASTARD conference, and the Anarchist Study Group. The Study Group has been meeting weekly at the Long Haul in Berkeley for over a decade. It is structured through reading and discussing agreed-upon texts, publicly advertises locally and online, and is open to anyone to attend. At the beginning of 2013, the Study Group embarked on several months of investigation into Maoism, focusing on the New Communist Movement, reading primary documents related to the RCP, MIM, the BPP, STORM, and a plethora of alphabet soup Maoist organizations. Needless to say, these post-left anarchists were highly critical of the NCM and Maoism. Aragorn! went so far as to publish a lengthy criticism on his self-titled blog based on their studies in mid-March.

A group of identity anarchists “intervened” during a regular Tuesday night Long Haul Anarchist Study Group meeting sometime after that blog post. Hannibal Shakur, an activist in Occupy Oakland’s Decolonization tendency who is fighting vandalism charges after participation in the Trayvon Martin riots, was prominent in the newly organized Qilombo Social Center in Oakland. He and his crew attended the Study Group meeting, it seems not merely to dispute their post-left anarchist critique of Maoism, the NCM and the BPP, but also to challenge their right to pursue such independent study at all. The identity anarchists harassed and harangued the post-left anarchists, and in the heat of the argument between the two sides, post-left anarchist Lawrence Jarach made a categorical statement so typical of orthodox anarchism. To paraphrase, Jarach contended that: “All churches must be burned to the ground.” An identity anarchist demanded: “But what about the black churches?” To which Jarach responded: “The black churches must be burned … all churches must be burned.” The disagreements only got nastier from there, with open acrimony escalating into implied threat.

At some point, passionate ideological disagreement turned into calculated sectarian purge. The annual San Francisco Bay Area Anarchist Bookfair set up operations at the Crucible in Oakland on May 22, 2014. The one-day bookfair gathered a multitude of anarchist tendencies, among them the AJODA/CAL Press vendor table and the Qilombo Center table. An “attack initiated by three people (and about ten supporters) from Qilombo began around 3:40pm when I was cornered near the restroom,” reported Lawrence Jarach, “and continued after I walked back to the CAL Press/Anarchy magazine vendor table, ending at around 4 when we decided to leave.” AJODA has since issued an Open Letter to Bay Area Anarchists protesting the Qilombo assault as well as the general anarchist apathy toward this successful purge. Those associated with the attack on Jarach in turn have communicated the following: “Qilombo was not involved in the altercation you mention that took place at the Bay Area Anarchist Bookfair, and the space has no comment on the matter. Lawrence Jarach came by the Qilombo table and antagonized a few of our volunteers, so those volunteers took it upon themselves as autonomous individuals to call him out for something that occurred at an another venue, at another point in time, and requested that he leave the bookfair. If you would like more details, you will need to reach out to the actual parties involved.”

Tim Yo would have called this final evasion candy-assed.

Last column, I mentioned the feminist “intervention” at the May 9-11, 2014 Portland, Oregon Law & Disorder Conference and the increasingly acrimonious debate between Kristian Williams and the organizers of the event Patriarchy and the Movement, over the tactics of individuals and groups professing identity politics within larger leftist political circles. That the victims of patriarchal sexism and violence and their defenders are so outspoken in speech and print about the need to purge the perpetrators from The Movement only underscores the clarity of their actions. I suspect that, amongst themselves, Shakur and his identity anarchist/Qilombo brigade have summarily convicted Jarach of racism, exercising his white skin privilege, and supporting white supremacy in insisting purely on principle that all churches need to be burned down, even the black ones. Yet they won’t publicly cop to running him out of the anarchist bookfair for such reasons. That they haven’t openly taken responsibility for their thuggish behavior to, in effect, purge Jarach and AJODA from the Movement is low, even for Maoism masquerading as anarchism.

These concerted efforts to purge people from The Movement based on their ideology, or their behavior, are the self-righteous acts of those who would be judge, jury, and executioner. When Tim Yo made his futile attempt in MRR to purge punk rock back to its basics, the results were predictable. The magazines Punk Planet, Heart attaCk and Shredding Paper started publishing circa 1994 to challenge MRR’s definition of punk and hegemony over the scene, followed shortly thereafter by Hit List. However, I doubt that Qilombo’s attempt to purge Lawrence Jarach and fellow AJODA members will have similarly salutary effects.

Trigger warning: “What’s Left?” July 2014, MRR #374

Observant readers will know something is up once they’ve checked out the staff box. I’m only on the periphery of the latest changes, and in any case I’m not at liberty to discuss them in this column. Suffice it to say that what has recently been occurring at this magazine is forcing me once again to contemplate the 16 or so years I’ve been working for MRR, out of the 32 plus years that this magazine has been publishing. Place this in context of my some 36 years of involvement in punk, initially printing my own zine and putting on shows, and my need for reflection about the over three and a half decades of participation in the punk scene should come as now surprise. That’s just a decade shy of the time I’ve spent in lefty politics, 46 years and counting. Little wonder I’ve been doing some hard thinking lately regarding these aspects of my life and my part in them.

In turn, my concurrent political ruminations were triggered upon seeing the disconcerting YouTube of a feminist “intervention” at the May 9-11, 2014 Portland, Oregon Law & Disorder Conference. That and the increasingly acrimonious debate between Kristian Williams and the organizers of the event Patriarchy and the Movement over the tactics of individuals and groups professing identity politics within larger leftist political circles are themselves worthy of extensive analysis and discussion. For now, I was struck by the, to my mind, discordant use of the term “The Movement” by those seen in the video and the people debating these subjects on line.

I have on my bookshelves a 9×11 752-paged tome entitled “The Movement Toward a New America” edited by Mitchell Goodman. This massive cardboard-bound volume reprints news reports, articles, essays and commentary from the underground press from 1968 to 1970, along with photos and graphics, everything from the Berkeley Tribe and the Old Mole to the early Rolling Stone and the long defunct Ramparts Magazine. This book would have remained a quaint bit of nostalgia in my library but for the jarring employment of this term of inclusion by folks most of whom weren’t even alive at the heyday of the word’s currency, but who now are vociferously arguing over who or what is or isn’t a part of The Movement.

My friends and I considered ourselves part of The Movement during the 1960s and 70s. We used The Movement synonymously with the terms Socialism and The Left, one of many problems with the concept and application of the phrase The Movement. I became aware of the absurdity of The Movement label as I eased away from anarchism toward ultraleftism. And having never really felt comfortable with the whole hippie thing, I got interested in punk right around the same time, from 1979 on. Now, punk is a term both vaguer and more concrete then that of The Movement. Certainly one of the highlights of punk rock in the Bay Area in the 1990s was the creation of a substantial scene infrastructure; magazines like MRR, record labels like Alternative Tentacles, distributors like Mordam Records, all-ages venues like 924 Gilman Street, social spaces like Epicenter Zone, etc. Now that punk rock has receded from this high water mark, I’ve returned to contemplating how a magazine like MRR might insure its capable operation and financial health fr the future.

It least I’m not chasing my tail in some endless dispute over who or what is or isn’t punk. That we all feel the need for self-identification and self-definition should be obvious from the commitment and loyalty, not to mention rancor and vitriol generated by these respective idioms, The Movement and punk rock. But detailing the context and what exactly is wrong with the current use and implied definition of expressions like The Movement and punk is going to take several issues to unpack. For the moment, I’m glad that the magazine I work for doesn’t come with a “Trigger Warning.”