Boutique capitalism: “Lefty” Hooligan, “What’s Left?”, June 2021

I’d gotten high on marijuana, hashish, LSD, MDA, cocaine, amphetamine, barbiturates, heroin, jimson weed, nitrous oxide, peyote, mescaline and psilocybin by 1972 living in Ventura, California. But I still hadn’t gotten drunk. I didn’t start drinking alcohol with any frequency until late 1974, over a year after I turned 21 and had already moved to Santa Cruz to attend UCSC. But in the spring of 1972 I didn’t like booze. I didn’t like people who drank instead of getting stoned, and I hated loud bar scenes. So I was jealous and miffed when a friend regaled me with the news that “Hey, I was drinking at John’s At The Beach and John Lennon just showed up, jumped on stage and played ‘Norwegian Wood’.” And I was seriously annoyed to learn that Lennon returned two days later to play another brief set, this time backed by a few local musicians.

Communizing Moments: “What’s Left?” May 2018, MRR #420

Enjoy only 2 cosmetics, enough sleep & Dr. Bronner’s ‘Magic Soap’ to clean body-mind-soul-spirit instantly uniting One! All-One! Absolute cleanliness is Godliness! […] For who else but God gave man this sensuous passion, Love that can spark mere dust to life! Revealing beauty in our Eternal Father’s fashion, poetry, uniting All-One, all brave, all life! Who else but God! Who else!

snippets from label for 32 oz. bottle of
“Dr. Bronner’s Supermild 18-in-1 Baby-Castile Soap”

We wanted to communalize our politics, our friendships, our minds. We were five anarchists who, having read Murray Bookchin’s Post-Scarcity Anarchism, decided we were an affinity group that wanted to take matters to the next level. We drove into Los Padres National Park and hiked a day into the Sespe Wilderness. Our plan was to camp, fast for three days, and then drop mescaline together. It was 1971, and even back then real mescaline was rare. It was probably LSD. It wasn’t just the times; we were a little nuts.

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

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.

Corporatist realities and conservative fantasies: “What’s Left?” February 2009, MRR #309

The debate on the Left, in the days when the Soviet Union still existed, frequently boiled down to those who championed socialism in the abstract versus those who defended “real existing socialism.” Abstract socialism refers to any type of socialism that, with brief revolutionary exceptions, hasn’t actually been tried out in the real world. Anarchism, left communism, syndicalism, council communism, De Leonism, autonomism, democratic socialism, utopian socialism, communalism, libertarian socialism—plus the scores of variations within each category—comprise the broad, inchoate field of socialism in the abstract. Real existing socialism is much simpler, consisting of a few shopworn social democratic and a half dozen Leninist regimes, some of which continue to function to this day.

A similar distinction can be drawn between political systems in the abstract and real existing political systems. Political science, as it is taught in most universities, is an example of politics in the abstract, and academe is the perfect setting within which to discuss democracy, libertarianism, capitalism, socialism, fascism, communism, anarchism; all sorts of abstract political systems that have rarely, if ever, existed. In reality, all present-day political systems are but variations on a single theme, that theme being the corporate state.

This is an incidental insight that can be gleaned from a reading of The Contours of American History by William Appleman Williams. An inspiration for the New Left in the 1960s, Williams was a “hard revisionist” who argued that expansion and empire were essential to the American economy, and that the US was primarily responsible for the Cold War. He wasn’t so much a Marxist as he was an anti-imperialist populist, along the lines of Mark Twain, who found common cause with old school, isolationist conservatives like Herbert Hoover, and who valued American regionalism and small community.

In Contours, Williams contended that the worldwide crisis that began with the first world war, and culminated in the second, gave rise to a near universal form of governance that can be called the corporate state. Strictly speaking, the corporate state is a creature of Italian fascism, of Ugo Spirito, Sergio Panunzio and Giovanni Gentile, who posited that an authoritarian ruling party could use the state to mediate between various powerful social interests, most notably the bourgeoisie and the proletariat, by incorporating them into social governance. The triumph of Bolshevism in Russia after 1917 produced a corporate state skewed to the left, with the working class allied with, and disciplined by a totalitarian Soviet state. Mussolini’s march on Rome in 1922 established a corporate state tilted to the right, with the capitalist class allied with, and disciplined by an authoritarian Fascist state.

Bolshevism and fascism vied for influence in the United States after 1929, when social conditions during the Great Depression proved ripe for radical organizing. The labor movement in general, and the Communist Party in particular, were gaining strength and social revolution, not to mention socialism, was a distinct possibility. Roosevelt’s response, in the form of the New Deal, created a corporate state in which a democratic state regulated capital, the full partner, and labor, the junior partner, in what amounted to a tripartite governance of American society. Very little effort is required to fit most countries today into one or another corporatist model.

The clear relevance of the corporate state idea in explaining much of current nationalist politics comes at a time when theories of corporatism have lost favor among academics. The multiplication of powers and interests in a society that makes it unmanageable by any corporate state; the explosion of racial, ethnic, even regional forms of tribalism; the spread of neo-liberal, free trade economics around the world through rampant globalization; the weakening of the nation-state as a viable unit in the world capitalist economy; these have all been cited to mitigate the importance of the corporate state as a way to understand how much of the world is run on the level of nation-states. The political realities of the corporate state, however, have not evaporated simply because political science professors are no longer interested in talking about them.

Take the 11/27/08 column, “Socialist Republic,” by paleoconservative Patrick Buchanan. After noting that both George Bush and Barack Obama have learned the same interventionist lessons from studying the Great Depression, Buchanan sarcastically comments that “We are all Keynesians now.”

Consider what we are about to do. Bush in 2008 spent 21 percent of GDP. States, counties and cities spent another 12 percent. Thus, one third of GDP is spent by government at all levels. Obama and Co. propose to raise that by another 10 percent of GDP. We may soon be north of 40 percent of gross domestic product controlled and spent by government.

That is Eurosocialism.

Actually, it’s good, old American corporatism.

Another paleoconservative, Paul Edward Gottfried, points out in his book, Conservatism in America: Making Sense of the American Right, that American conservatives have failed to tackle, let alone defeat the behemoth of the modern administrative state. That’s because conservative Republicans, no less than their liberal Democratic counterparts, accept as given the corporatist fundamentals of the New Deal (Social Security, unemployment insurance, government intervention in the economy) as well as certain additions made to it by Johnson’s Great Society (Medicare, food stamps, civil rights legislation). Not even the doyen of small-government conservative Republicanism, Ronald Reagan, managed to dent America’s administrative state. Indeed, the Federal government and the deficits accrued by it grew precipitously during the Reagan years.

The corporate state is real existing politics, whereas paleoconservatism is politics in the abstract. We’re likely to witness intense internecine conflict on the Right in the next few years as conservatives try to figure out “what went wrong” in 2008. Few will defend the real existing big government conservatism of George Bush as they fight over the mantle of small-government Goldwater/Reagan conservatism in the abstract. Yet, much as anarchism went down to defeat time and again against Leninist communism in the real world, I suspect that, in practice, small government paleoconservatism will be routed by big government conservatism every time. Well, perhaps not in the platform of the Republican party, but certainly in actual governance.

The administrative state, the corporate state, is inescapable. Nor would the capitalist class wish to get rid of it, even if they could. I once joked that, if the Libertarian party’s dream was realized tomorrow, and the state was abolished in order to achieve a pure laissez-faire capitalism, the corporations would purchase and install a new government the day after. Capitalists realize the need for a strong, regulatory state, if for no other reason than to bail them out when they fuck up. Then there’s the military, handy for enforcing capital’s interests overseas, and the police, equally useful in quelling riot, rebellion and revolution at home. Labor’s participation in the corporate state, as well as the social programs engendered by that participation, might be up for question or attack. America’s corporate state is not.