Tim Yohannan. ¡Presente!: “What’s Left?” May 2019, MRR #432

[E]verything that was in opposition was good…
Michael Baumann, How It All Began, 1975

No one who likes swing can become a Nazi.
Arvid (Frank Whaley), Swing Kids, 1993

It was Movie Night at Maximum Rocknroll at the old Clipper Street headquarters circa 1994. The featured movie was Thomas Carter’s 1993 film Swing Kids. It was Tim and me and maybe one other person. I think Tim actually made Jiffy Pop popcorn and I had my ubiquitous six pack. The plot was simple; as the Nazi Party rises to power in pre-WWII Germany a tight countercultural scene of young kids grow their hair long, wear British fashion and use Harlem slang as they listen to banned American swing music, hold underground dances and street fight the Hitler Youth. Two rebellious young men take different paths—one into the Hitler Youth, the other into the Swing Kids and eventually jail.

The parallels to the mid-1990s were clear, with the rise of the Right politically and the explosion of punk’s second hardcore wave in the streets. After the closing credits rolled and Tim popped out the VHS tape he made the connections explicit. “Punk is like swing was in Nazi Germany. It’s the core of a revolutionary youth culture with rebellious kids resisting fascism in the streets.”

Tim loved punk, no doubt about it, but he was also on a mission. He not only wanted to cover the scene and its music, he wanted to push the politics of punk to the fore. And that link between punk music, the scene, its politics, and the fight against the Right is crucial to understanding both Tim Yo and his project, MRR. Tim considered MRR a lynchpin between punk music and the punk scene on the one hand and the Left’s fight against reactionary politics on the other hand.

Tim was a friend. We both loved punk rock but whereas I had eclectic tastes ranging from pop to noise Tim insisted on only the rawest, most aggressive three chord rock’n’roll. We didn’t hang out together at shows although we were sometimes at the same shows. We were both politically on the Left although he was a mellowing Marxist-Leninist and I was an aspiring libertarian Marxist. Tim had a loud raucous belly laugh, could hit a fly ball over the fence, and was dedicated to the punk scene like nobody’s business. But he was also rigid, authoritarian, and sometimes an unmitigated asshole. In fact, when Tim was dying of non-Hodgkins lymphoma and preparing MRR’s transition team to take over, he advised us never to shy away from being an asshole when it was warranted. Meaning, we needed to stand firm about making the tough decisions—firing idiot shitworkers, refusing connections with sketchy bands and labels, cutting out cancerous corporate influences—whenever necessary. Tim and I were friends, but we weren’t ever “besties.” And I was never part of the coterie of friends who played Risk at the MRR house. Tim had modified the rules to make the game more ruthless, and there was no better metaphor than that long-running Risk game for Tim’s aspirations to punk rock world domination.

This tribute to Tim is also about the print edition of MRR. But MRR, which began publishing as a zine in 1982, started much earlier as a radio show in 1973. Both the early years of the radio show and the beginnings of the magazine involved a quadrumvirate of pioneering punkers—Tim Yo, Ruth Schwartz, Jeff Bale, and Jello Biafra—who changed punk rock in the Bay Area and internationally. Never the sharpest shōnen knife in the punk rock drawer, Jello fully deserved losing the Dead Kennedys back catalog for ripping off his band. Now a para-alt-rightwinger, Jeff Bale dropped racial epithets when his vintage sports car was vandalized by black kids. A millionaire hipster capitalist, Ruth Schwartz abandoned her faux conscious capitalist ethics when confronted with unionizing efforts by workers at Mordam Records. Having known and worked with them all, the only one I truly trusted was Tim Yo who, despite his personal flaws and political problems, was forthright, genuine, and completely dedicated to the scene. Tim helped me get the job at Mordam and in turn I fed him inside information about the distributor. When Tim moved to drop Mordam as MRR’s distributor, I gave Tim detailed backroom distribution and sales information ahead of the move, and provided him with lists of the distributors and sub-distributors Mordam dealt with. My punk loyalty was to Tim and MRR, first and foremost.

Tim’s influence on punk rock was epic and wide ranging. Tim and MRR arguably coined the term DIY—do it yourself—as well as defined the anti-corporate, bottom-up, decentralized nature of punk rock with regular scene reports and calls to “support your local scene,” two crucial characteristics of punk. Punk projects that Tim initiated—from the radio show to Gilman Street—are still going strong today. He made “no major labels” the magazine’s rallying cry. And Tim was an adamant anti-fascist, insisting that the magazine and affiliated projects have absolutely no truck with Nazis. He routinely confronted Nazis when the entire Gilman Street community shut down punk shows in response to Nazi skins in the pit. The vagaries of print media notwithstanding, MRR kept publishing for 16 years under Tim’s direction and 20 years after his death, quite a feat for an all-volunteer not-for-profit punk zine. Tim’s insistence that punk rock get back to basics with his 1994 purge of MRR’s record collection and music coverage forced punk to return to three chords and the truth, the basis for the music’s original greatness that fostered a revival of the genre.

Ultimately, the connections Tim fostered through MRR between punk music, the youthful punk scene, its leftist politics, and the fight against the Right and fascism influenced me the most. It’s facile to argue that because the young are rebellious by nature there can be no particular political philosophy innate to any form of rock’n’roll. The young are considered rebels without a cause and therefore without a clue. “Just don’t fucking tell me what to do!” is supposedly their mantra. But while the young are often individually rebellious for the sheer sake of rebelliousness, with all opposition considered good, there were definite political trends brought about by concrete material circumstances. As social phenomena, the rebellious hippie counterculture of the 1960s and the defiant punk subculture beginning in the 1970s were viscerally anti-authoritarian, which stimulated interest in and a revival of anarchism each time. No similar interest in conservative politics emerged, putting the lie to the claim that “conservatives are the new punk.” Fascism remained anathema irrespective of these youthful rebellions.

It’s equally facile to contend that because Tim witnessed the ’60s radical youth counterculture firsthand and was rumored to have been in the Revolutionary Communist Party in the ’70s he intended MRR to be a punk rock Bolshevik Party. As I pointed out above regarding MRR’s origins, Tim worked with a collection of fellow punks who differed wildly from him politically. MRR was frequently criticized as narrow-minded, politically correct, and elitist, but it never attempted to be a political vanguard for punk. The magazine’s shitworkers and columnists were diverse and their politics, while generally left wing, were eclectic. Tim had strong opinions and politics, but he was never a punk rock Stalin.

I was making links between punk and politics before I moved to the Bay Area. Joining MRR and working with Tim not only deepened those links, it changed my life. Not miraculously, but nevertheless significantly. My musical experience broadened dramatically as a result of hanging out at the MRR house. The anti-statist and anti-authoritarian components to my left libertarian politics grew more sophisticated, thanks in large part to Tim making me a columnist. I was always a writer, but I became a published author with a literary and internet presence during my tenure as “Lefty” Hooligan. I’ll continue writing and probably do some version of my monthly “What’s Left?” column online until they pry my cold dead hands from my keyboard. As of this writing, the future of MRR as a punk project remains to be determined. It began as a radio show, so it looks to continue as a radio show for the foreseeable future. The record reviews and other punk related reviews should be going up online shortly. And slowly, painfully, the full archive of MRR’s print era, the magazine in all its glory, will eventually be posted online. “Long live Maximum Rocknroll” is a reality, and the project will go mostly digital to survive.

There’s a long tradition on the Latin American Left of using the word ¡Presente! (Here! Present!) to invoke the memory of those comrades who died in the struggle for a better world. So this is only fitting:

Tim Yohannan. ¡Presente!

 

 

Crossing the line: “What’s Left?” March 2019, MRR #430

[The Motherfuckers are] a street gang with analysis.
—Osha Neumann

Fuck shit up!
—hardcore punk catchphrase

Conservatives are the new punk.
—alt-right-lite catchphrase

When I read Michael “Bommi” Baumann’s political memoir Wie Alles Anfing/How It All Began in 1979, about his experiences as a West German urban guerrilla, I took to heart his slogan: “Words cannot save us! Words don’t break chains! The deed alone makes us free! Destroy what destroys you!” The feeling behind his words resonated with the aggressive, direct action-oriented anarchism I’d developed since 1968, but by the late ‘80s I’d abbreviated those sentiments into the phrase “fuck shit up.” Fuck shit up was a hardcore punk war cry. Bands from Useless Pieces of Shit to Blatz wrote songs with the saying in the title and the lyrics. There’s no more punk an expression than “fuck shit up,” which is abbreviated FSU in graffiti.

An organization of punks arose in the Boston area in the early ’90s also called Fuck Shit Up/FSU, started by Elgin James. James was a mixed-race orphan raised by peace-and-love hippie foster parents who preached pacifism but subjected Elgin to a harmful home environment of alcohol and drug abuse. He reacted to his parents by becoming straightedge and rejecting their pacifism for the Black Power philosophy of Malcolm X, Stokely Carmichael, and the Black Panther Party, ultimately embracing the aggressive ideals of hardcore punk rock. Running afoul of the law, confined briefly to juvenile hall, Elgin enrolled to study pre-law but suffered brain damage from an injury incurred during a gang fight. He slowly, painfully recovered his mental and physical abilities through intense physical therapy, but remained destitute and homeless until he moved to Boston. There, he became the singer for the hardcore band Wrecking Crew in 1991 and joined a multi-racial crew of working class punk kids to form FSU, with Fuck Shit Up also coming to mean Friends Stand United and Forever Stand United.

Ostensibly aggro, straightedge and anti-racist, Boston FSU’s core stance was undying loyalty to one’s crew of friends defended by righteous violence. Boston FSU started by claiming to purge white power skinhead gangs from shows and the scene, then quickly moved on to taking out drug dealers. Going “right after the heart of the enemy, money,” FSU robbed drug dealers, then gave half of their take to local charities and straightedge bands while keeping the remainder for themselves. FSU started an “arms for hostages” scheme to trade handguns for pit bulls used in dog fighting rings with inner city gangs. Boston FSU’s reputation grew. Soon FSU chapters sprung up across the country. In 1992, I remember FSU being listed in Anti-Racist Action zines as a premier straightedge, anti-racist, hardcore punk organization and therefore legitimate allies in the fight against white supremacy.

That didn’t last. Many Boston punks considered FSU thugs and their claim to rid the scene of nazi skins bogus. FSU also targeted bouncers, scene outsiders, and civilians with what the group considered justified violence. “Fuck nazis and dope dealers” escalated to “fuck anybody who isn’t us.” Ideologies grew more extreme, with hardline supplanting straightedge. Members died and chapters splintered. A number of FSU members eventually joined the Outlaws and Mongols motorcycle gangs. Violence linked to FSU in Salt Lake City—including a mob attack, McDonald’s arson, and mink farm bombing—culminated in a gang-related murder in 1998, leading the FBI to declare FSU a street gang by 2009. Elgin James put out a hit on a supposed neo-Nazi and then attempted to extort money from the individual in 2005, which lead to his arrest by the FBI in 2009 and imprisonment in 2011/12.

So when does a crew become a gang? When FSU fell apart, James and surviving founding members formed the Foundation Fund to set up scholarships at local universities to honor dead FSU members and reflect “hardcore punk culture” and ideals. But FSU had crossed the line from scene crew to street gang long before.

Now consider another example of the use of violence in turning a crew into a gang.

Breitbart published an article entitled “Political Punks” in 2015 that featured a détourned image of the classic Ramones picture, the four band members posed against a brick wall with their faces switched up for Greg Gutfeld, Clint Eastwood, Ann Coulter, and Gavin McInnes. One of the first uses of the spurious meme, the cliché that “conservatives are the new punk” has become a mantra for McInnes and his ilk ever since.

McInnes was born in Britain of Scottish parents who migrated to Canada when he was a child. He played in the Ottawa punk band Anal Chinook and founded Vice with Shane Smith and Suroosh Alvi in Montreal in 1994, exhibiting from the beginning his propensity for provocation, rightwing culture jamming, and countercultural cooptation. McInnes almost single handedly manufactured the gentrifying, mostly white, male and young hipster subculture. He was bought out by his two Vice partners in 2008 and, fancying himself a comedian, writer, actor and businessman, he attempted various marginal commercial ventures. But by 2012 his increasingly right wing trajectory was apparent. He peddled transphobia, founded his own news commentary internet show and advertising company, and became a regular contributor for Rebel Media, Infowars, and Fox News. He wrote for more overt paleoconservative/white supremacist media like TakiMag, American Renaissance, and VDARE. And McInnes founded the Proud Boys (PB) in 2016 just prior to being employed by CRTV in 2017.

What The Monkees were to music the PB are to politics—a cleverly constructed and recruited group designed to appeal to a carefully targeted demographic. And like hipsterism before, the PB were mostly concocted by Gavin McInnes, whose leadership has been equal parts deflection and “balls out” bullshit. He has constantly declared the PB multiracial and gay friendly, yet its membership remains overwhelmingly young, white, and hetero. From its retro rightwing ideology (anti-feminist pro-family, free enterprise small government, anti-Muslim “Western chauvinism”) to its goofy ritualism (Disneyesque name, Broadway themed anthem, five cereal faux beatdown initiation) and pseudo-Masonic trappings (pledging, graduated system of “degrees,” Fred Perry “uniforms”) the PB as a fraternal organization boils down to drinking and fighting, in McInnes’s own words. And despite simply wanting to enjoy a drink with “his boys” and a little spurious charity work, McInnes is all about the fighting, having declared “I want violence, I want punching in the face. I’m disappointed in Trump supporters for not punching enough.” He amended the PB with a “fourth degree initiation” where “We don’t start fights […] but we will finish them.”

What this has meant in practice publicly is overt provocation, intentional aggression, and targeted violence by the PB. At New York University, in Berkeley, California, in Portland, Oregon, and mostly recently at the New York Metropolitan Republican Club, the PB have squared off against antifa in alliance with assorted white supremacist (Identity Evropa, 211 Boot Boys) and patriotic militia (Oath Keepers, III Percenters) groups. Acting as “founder, not fuhrer,” McInnes proclaimed after Charlottesville that the PB can’t have white supremacist alt-right members while at the same time declaring that white supremacy doesn’t exist. This leaves the PB free to associate and openly work with the racist alt-right as a rightwing alt-lite ally. The PB may have started as a joke, but it’s far from a goof that simply got out of hand. McInnes deliberately fanned the PB’s violent rhetoric, hyperbolic claims, and collusion with white supremacy. In turn, this allowed McInnes to transform the burgeoning PB from a contrived crew to an ersatz gang specializing in bodyguard muscle, anti-antifa vigilantism, and general rightwing mayhem. The Monkees, after all, were quite popular and had a decent following even when they were purely corporate tools.

I viewed the brutal Boston Beatdown videos and realized that six or seven charismatic individuals besides Elgin James were behind FSU’s power and draw. When I saw Gavin McInnes’s rambling, incoherent video distancing himself from the PB and the “Proud Boys 9” “for their own good” now that the FBI unofficially consider them extremists I could feel the palpable fear of a RICO anti-organized crime indictment looming over McInnes’s resignation action. McInnes had become the clownish ex-hipster Mussolini of a suburban gang without analysis. Now that an “Elders Chapter” and Chairman Enrique Tarrio are officially the boss of this so-called “Western chauvinist” fraternity few think the PB will remain the leading alt-right-lite organization tasked as GOP enforcers and anti-antifa vigilantes. Some are predicting sectarian battles and splits. Others believe the PB will gradually fade into obscurity. But the PB might yet linger. To Mao’s famous dictum “if you don’t hit it, it won’t fall” I’d like to add the anarchist caveat:

“If it doesn’t fall, you didn’t hit it hard enough!”

Originally this column featured a Skarhead picture to obliquely reference a wider discussion about crews in punk and hardcore from https://dukecityhardcorepunk.wordpress.com/2017/12/19/crews-in-the-punk-and-hardcore-scene/. I got crap for it so I replaced it and other pictures with ones from Boston Beatdown.

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

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