Town v. country: “Lefty” Hooligan, “What’s Left?”, February 2023

I’m a city boy. I call myself a flâneur, an individual who strolls city streets for personal freedom, independence, and enjoyment. I’ve lived in cities pretty much all my life and the very brief periods I resided in the countryside drove me bats.

It was love at first sight when I visited New York City in autumn, 1988. People I befriended living in San Diego invited me to holiday in the City and I returned nearly every year thereafter for a decade. That initial trip I was a total tourist. I got a crick in my neck the first day from walking around, looking up and marveling at all the tall buildings. I’d leave the collective household’s Park Slope brownstone where I was staying, maybe stop by the nearby Food Coop for some breakfast, then catch early morning subway rides into Manhattan neighborhoods. Graffiti was everywhere, and the subway cars were rolling works of underground art. I hit the main sightseeing spots.[A] I spent afternoons in St. Mark’s Comics and the Strand just browsing. Missing Foundation’s overturned martini glass tag was ubiquitous on the Lower East Side. Because I was a drunk, a 16-oz can of cheap malt liquor and a couple of hot dogs or slices of pizza from street food stands were all I needed.[1]

Most of my friends had day jobs—bike messengers, temps, low-level secretarial or warehouse grunts—as well as office workers, librarians and academics. I’d arrange to meet them after work at the Cube at St. Marks Place where we regrouped for more food, drinks, and partying. We’d go out for inexpensive ethnic dinners where it was always BYO. And we’d end most evenings talking politics, either socially over more food and drinks or at meetings of Neither East Nor West, Anarchist Black Cross or the Libertarian Book Club.  Several of my friends had “red-eye” radio shows on WBAI, so we would sometimes stumble home at 2-3-4 in the morning. The sidewalks were crowded curb-to-wall with people, pedestrians on the streets all hours of the day and night. There was always something happening. Anything you wanted to do or transact, legal or illegal, was available if you only looked hard enough or had enough money.

I also experienced New York during the late Koch, Dinkins and early Giuliani years when city cops were fat, and stop-and-frisk, “zero tolerance” and “broken windows” policing were at their height. Enforcing “quality of life” violations meant racial profiling, rousting the homeless, and harassing nonconformists. Punk was raging as was hip-hop. The Tompkins Square Park riots of unruly countercultural teens and the homeless occurred in the summer of 1988, resulting in 35 injured and 9 arrested, with over 100 complaints lodged against the police. The New York Times called it a “police riot.”

New York had a reputation for filth, vermin, noise, crime, corruption, homelessness, disorder, brutal cops and racial antagonisms. But it was also known as the capital of the world, the city that never sleeps, and the city of dreams. Some 80+ ethnicities spoke over 200 languages, serving up 35 different global cuisines, worshipping in 150 different religious denominations, residing and conducting business in 278 neighborhoods in 5 boroughs. As the line goes, “there are 8 million stories in the Naked City,” only it’s closer to nine million now. I admired the direct, no nonsense, practical attitude of New Yorkers, their irritated impatience embodied in the term “New York minute,” their borough-distinctive street accents, their raised middle finger stance toward the world. I always returned from my NYC vacations reinvigorated and renewed. Yet I could see how living permanently there and experiencing the City’s monumental indifference and relentless grind could wear on a person’s body, mind, and spirit.

Karl Hess once argued that Ireland had an anarchist society for centuries, how its cities of tens of thousands of people operated without a government and avoided crime without a police force, and how the English took hundreds of years to conquer the Irish because they had no national government to surrender for them. When I remember back to my New York City experiences I sometimes think it’s just the opposite, that it’s a city with lots of police and government but which is fundamentally ungovernable. I’ve lived in West Coast cities[B] and visited various world-class cities[C] sometimes for extended periods. Nothing, no city can compare with New York. But maybe it’s useful to find alternatives to city life. Perhaps socialism can provide different options to the typical urban experience.

Murray Bookchin gained notice for his 1969 pamphlet Listen, Marxist! which presented a left-anarchist critique of Marxism using orthodox Marxist categories (means of production vs relations of production, proletariat vs bourgeoisie, objective vs subjective forces, etc.) Bookchin was a Trotskyist whose acquired anarchism retained a flavor of vulgar Marxism thanks to that stodgy vocabulary. He would eventually develop politically beyond these origins in the 1980s and 1990s but his 1971 book, a collection of essays entitled Post-Scarcity Anarchism (P-SA), still had that crude feel. P-SA proposed a utopia of small decentralized communities founded on communal property that integrated town and country, industry and agriculture, manual and intellectual labor, individualism and collectivism, etc.[2] Federations of such integral communes constituted an idealized stateless, anarchist-communist society of abundance where all social, economic and political contradictions would be resolved.

P-SA created a stir among anarchists in the 1970s and not merely because it repurposed Marxist ideas and terminology to defend left-anarchism. Anarchist study groups based on the book emerged, while criticisms arose from classical anarchists of various stripes. P-SA’s pro-technology bent, in particular, elicited negative reactions in Luddite and primitivist circles. As a left-anarchist I realized Bookchin’s integral commune sounded a lot like the Israeli kibbutz I lived in for six months in 1974.

I consider Israel a settler-colonial apartheid state that failed primarily because Labor Zionism practiced an exclusionary “socialism for one people,” placing ethnic identity over class identity. At the same time I consider the Jewish socialism that established Israel to be one of the more autonomous, communitarian, emancipatory forms of socialism I’ve experienced. I consider both true.

Kibbutz Mizra was established by the Hashomer Hatzair socialist-Zionist youth movement in the Jezreel Valley under the slogan “from commune to communism.” The commune members practiced “from each according to ability, to each according to need” where, for their community labor, they received free housing, food, clothing, education, entertainment, even a monthly stipend to purchase luxuries at the general store. Property was held in common and children were raised collectively. Mizra was a small town communal farm on 1915 acres of land purchased from an absentee Arab feudal landowner whose Arab peasant tenants had been evicted by the Jewish National Fund. Located between the Arab cities of Nazareth and Afula, it had maybe a thousand adults and children and a mixed economy of agriculture (crops, orchards, eggs, chickens, dairy) and industry (meat processing plant, hydraulics machinery factory). Kibbutzim were in the vanguard of the Zionist colonization and economic development of Palestine (Hebrew land, labor, products). They were also on the frontlines of defending the Jewish Yishuv via the Hagana and Palmach (Hebrew defense).

To say life on the kibbutz was bucolic was an understatement. I worked, ate, read, hung out and slept. There was occasional communal TV or a movie available, and we took weekend trips to tourist destinations[D]. But otherwise my stay was uneventful to say the least. Commune life was excruciatingly boring. I started down my long, sordid years of alcoholism living at Mizra because I had to stop smoking marijuana when I arrived and so I purchased bottled wine from the kibbutz store to get high every day.

Jewish socialism shared the idyll of creating the “New Man” with the broader socialist/communist movements of its day. It’s the notion that, come the revolution, the free association of producers would construct a global society without a state, social classes, hierarchies or private ownership of the means of production through a fully developed communism to produce a new humanity. In P-SA Bookchin used the terms “the rounded man, the total man.” This utopian individual is described as cooperative, selfless, virtuous, hard working and comradely. Hardly a portrayal of your average New Yorker, let alone your typical Israeli kibbutznik.

The concept that the new socialist individual is the product of the new socialist society is standard-operating-procedure. Leftists contend that human nature changes depending on lifestyle (hunter-gatherer nomadism, agricultural sedentism, urban civilization) or stages of production (primitive communism, slavery, feudalism, capitalism, socialism). I consider humans to be social beings by nature, but the broader nature-versus-nurture debate over humanity’s essence remains unresolved in my mind.

The kibbutz movement, like the hippie back-to-the-land movement, was a conscious rejection of urban life. But there’s truth to the WWI song lyric that “how ya gonna keep ’em down on the farm after they’ve seen Paree?” I experienced a triumphant yet tedious rural socialism in Kibbutz Mizra, then a chaotic yet dynamic urban capitalism in New York City. Much as I favored enlightened communalism theoretically, in practice I enjoyed privatized decadence more.

SOURCES:
Personal recollections

FOOTNOTES:
[1] “The liver is a muscle! It must be exercised!” (b)ob McGlynn
[2] “Combination of agriculture with manufacturing industries; gradual abolition of all the distinction between town and country by a more equable distribution of the populace over the country.” (Communist Manifesto, 1848) “The first great division of labour in society is the separation of town and country.” (Friedrich Engels, Anti-Dühring, 1877) “Also characteristic of civilization is the establishment of a permanent opposition between town and country as basis of the whole social division of labour.” (Friedrich Engels,The Origin of the Family, Private Property and the State, 1884)

THE LISTS:
[A] Museums galore, Times Square, Central Park, Empire State and Chrysler Buildings, Brooklyn Bridge, Fifth Avenue, Grand Central Station, New York Public Library, etc.
[B] Ventura, San Bernardino, Santa Cruz, San Diego, Oakland, Berkeley, San Francisco
[C] Jerusalem, Athens, Vienna, Warsaw, Kraków, Berlin, Paris, Amsterdam, London, Bristol
[D] Jerusalem, Haifa, Baha’i Gardens Nazareth, Akko, Sachne pools, Eilat, Lake Kinnereth, Beit She’an, Dead Sea, the Sinai, Mar Saba Monastery, etc.

Buy my books here.

 

 

New Socialist Movement: “Lefty” Hooligan, “What’s Left?” April 2021

 

Nie mój cyrk, nie moje małpy
—Polish proverb

It wasn’t my scene.

I attended Stuart Shuffman’s book release party for Broke-Ass Stuart’s Guide to Living Cheaply in San Francisco sometime in November, 2007. Stuart initially xeroxed his zine at Kinko’s and personally distributed it to stores and shops around the city. His handmade publication was about to become a conventional paperback travel guide produced by a now-defunct independent publishing company that would offer a New York City edition the next year. His Guide to Living Cheaply combined two of my favorite things—zines and cheap eats—under the imprimatur “you are young, broke and beautiful” but the raucous release event wasn’t for me.

Trump’s workers’ party debunked: “What’s Left?” January 2021

It pisses me off.

In 2015 Breitbart ran a story by Lisa De Pasquale entitled “Political Punks” that détourned the famous 1976 Ramones record cover by superimposing the heads of rightwingers Greg Gutfeld, Clint Eastwood, Ann Coulter and Gavin McInnes over the four original band members.

Blasphemy!

Punk politics, personal politics and post-political politics: “What’s Left?” December 2019 (MRR #439)

The guy who helped the most in the campaign was like one of the big anarchists in San Diego.
Bob Beyerle, interview, MRR #102

“Hello, I’m with the Bob Beyerle for Mayor Campaign,” I say to the over sixty-year-old Latino man standing hesitantly in the front door of his house. “I’d like to talk to you about the horrible job Chula Vista’s City Council is doing. Not only are they subsidizing the construction of a bayfront yacht club, a luxury fourteen hundred room hotel, fourteen hundred condominiums and twenty-eight hundred exclusive housing units in a bayside tourist mecca, they’re rapidly expanding the city east of Interstate 805 with gated, guarded upscale housing developments like Eastlake, Rancho del Rey and Otay Ranch. Meanwhile, the city west of 805 is deteriorating. Eastlake is using a million gallons of water for a scenic lake that you’re not even allowed to use unless you live in this exclusive community while the rest of us are forced to live with between 20% and 50% water cutbacks. The City Council is catering to the wealthy when what we need is more funding for public services and new affordable housing developments with parks, schools, and emergency services. Bob Beyerle is for controlled growth and the environment, promoting local business and curtailing big business, and encouraging citizen involvement. Please vote Bob Beyerle for mayor on election day.”

I’m average height but the man barely reaches my shoulder. His more diminutive wife hovers behind him, clearly concerned. Both are suspicious as I hand them some campaign literature. Bob and I are precinct walking for his mayoral campaign in a sweltering May afternoon in 1991. I’m wearing a bright orange “Pedro Loves You” t-shirt while Bob Beyerle (aka Bob Barley of Vinyl Communications fame), wearing a sports coat and dress shirt, is talking local politics a few houses down the block. As the front man for the punk band Neighborhood Watch whose signature song is “We Fuck Sheep,” Bob goes on to do press interviews, candidate forums and house parties.

Rob Miller, Tau Cross and the spiritualism of fools: “What’s Left?” August 2019 (MRR #435)

Music in the 60s tended to be godawful serious. The folk protest music was self-righteous and the rock and roll was full of itself. I’ve had a decent sense of humor about most things, including music, and thanks to my rather broadminded parents I was introduced early to Spike Jones and Tom Lehrer. When I transitioned to all that hippie music I appreciated the satire of Phil Ochs and The Smothers Brothers and the sarcasm of Frank Zappa’s Mothers of Invention and of course Captain Beefheart. And I enjoyed the music of various outliers, the surreal humor of the Bonzo Dog Doo-Dah Band (“Yeah! Digging General de Gaulle on accordion./Rather wild, General!/Thank you, sir.”) and the playful Americana of the Jim Kweskin Jug Band. When I heard that vocalist and guitarist Jim Kweskin had joined the Lyman Family, the LSD cult of banjo and harmonica player Mel Lyman, I was taken aback.

I mean, the 60s counterculture was full of cults centered around charismatic asshole men, from Charles Manson’s Family to the Process Church, Steve Gaskin’s The Farm, and David Berg’s Children of God. The New Left was little better, spawning the likes of Lyndon LaRouche, Donald DeFreeze’s Symbionese Liberation Army, Jim Jones’ Peoples Temple, and Marlene Dixon’s Democratic Workers Party, one of the rare political cults lead by a woman. And let’s mention Synanon, the Élan School and Scientology simply in passing. For all the talk about spiritual or political liberation back in the day, the first kneejerk response by people seeking their own liberation was often to join an authoritarian mind-control cult. So no, I wasn’t really surprised that Kweskin was part of the Fort Hill Community in Boston’s Roxbury neighborhood. Mel Lyman had been called the East Coast Charles Manson by Rolling Stone in 1971. I was seriously disappointed however, and I just couldn’t listen to his music anymore.

So I get it.

Monthly column rules

As you might have heard, Maximum Rocknroll will stop publishing the print edition of the magazine as of May 2019. MRR itself will continue in digital form, although it may take awhile to get everything planned, sorted, scheduled and posted online going forward. My monthly column “‘What’s Left?’ by ‘Lefty’ Hooligan” will also continue online, providing analysis and commentary on the news and politics, abiding by two rules:

#1 DEADLINES: Columns will be published on the first of every month.
#2 WORD COUNT: Columns will be no longer than 1,500 words each.

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.

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.

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:

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:

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

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:

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!

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.