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.

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I’m against it!: “What’s Left?” January 2019, MRR #428

I’m against it.

Groucho Marx as Professor Quincy Adams Wagstaff
“I’m Against It,” Horse Feathers

I’m against it.

The Ramones, “I’m Against It,” Road to Ruin

I’m against it.

Capitalism that is. I’m against capitalism because it prioritizes profit over human need, exploits workers, engenders economic instability through overproduction and underconsumption, promotes social inequalities, degrades human community, destroys the environment, and encourages short term thinking at the expense of longterm planning. There is a vastly better alternative to capitalism in the form of socialism.

My antagonism toward capitalism is a standard, rational form of opposition. “A” is bad while “B” is good, so here is why I oppose “A.” I’ll call this vanilla opposition.

Then there’s contrarianism. It’s the opposition of that Beatles song “Hello Goodbye” the lyrics of which proclaim: “You say ‘Yes,’ but I say ‘No’.” It’s a reflexive, unconscious form of opposition. It’s actually a very punk form of opposition. In Anarchy Comics #3, published in 1981, Paul Mavrides and Jay Kinney penned the comic “No Exit” about hardcore punk rocker and visceral anarchist Jean-Paul Sartre, Jr., who gets transported 3000 years into the future when anarchism has finally prevailed and where “There’s no more war, oppression, sexism, racism, ageism, shapeism, sizeism!” Needless to say, J-P doesn’t react well. At one point he freaks and starts to “fuck shit up.” J-P’s future hosts admonish him: “Really J-P! There’s no need for this alienated behavior!! Since all property belongs to everyone, you’re only hurting yourself!!” To which J-P responds: “Yeah? Well, if it’s all mine too, I can wreck it if I want to, right?”

Such is the essence of this form of opposition, which I’ll call reactive opposition. MRR once had a columnist who specialized in this type of opposition and routinely played Devil’s Advocate in the pages of the magazine. If Tim Yo or other MRR coordinators insisted there be no racism, sexism, or homophobia this columnist would go out of his way to defend sex with children or call gays “homos.” I hung out with him a couple of times and whenever people reacted angrily to his antics a sly smile would cross his face. Ultimately, he was fired when his column was rejected for calling women who had survived sexual assault “cry babies” suffering from “survivoritis” in letting themselves remain victims. Ironically, he whined he was a victim of MRR’s anti-free speech PC attitude. In this era of Trump and Kavanaugh, he’s on Facebook writing post-MRR columns in which he regularly defends Trump and the horrors of Trumpism. As a dutiful contrarian, of course.

Finally, there’s what I call dark opposition. Dark opposition stems from the seductive charms of the transgressive. The English Puritan John Milton wrote an epic poem intended to exalt his Christian faith by retelling the Genesis story of the fall of man. Called Paradise Lost, its main problem was that the figure of Satan, as evil incarnate, came off as way too charismatic and downright noble. So attractive was Milton’s portrait of the devil that Paradise Lost was a best seller in its day while his sequel of the story of that goody two-shoes Jesus, Paradise Regained, was a flop. Every modern rebel, whether adolescent or political, identifies with Satan when he declared “Better to reign in Hell than serve in Heaven.” I’ll spend the rest of my time discussing dark opposition based on the appeal of transgression, or what in Star Wars lingo is called the “power of the dark side.”

BBC-TV did a movie, Longford, about the 1960s moors murders and the English aristocrat and prison reformer who became involved with one of Britain’s most notorious criminals, child-killer Myra Hindley. Hindley gets one of the film’s better lines when her character says “Evil can be a spiritual experience too.” The draw of transgressive evil is never to be underestimated. Numerous books have been written on the subject and several youthful subcultures have actively embraced the dark side of things, the most prominent being Goth.

But the appeal of the left-hand path goes back all the way to Vedic Vāmācāra practice and Tantrism which eventually entered Western spirituality through Madame Blavatsky, Theosophy, and Aleister Crowley. The latter couched it in terms of the occult and ceremonial magic where the right-hand path equated to benevolent white magic while the left-hand path meant malevolent black magic. Magick if you will. This distinction is common with occultists, among them parafascist Julius Evola who emphasized that those pursuing the right-hand path worked selflessly for the glorification of the divine while those on the left-hand path worked egocentrically for the glorification of the self. After the second World War, esoteric Nazism and Hitler worship emerged in various forms of völkisch spirituality in neo-völkisch movements, pioneered by such individuals as Savitri Devi, Robert Charroux, and Miguel Serrano. This is paralleled in the revival of anti-modern elements of tribalism, paganism, Traditionalism, and mysticism in everything from right wing politics (Alain de Benoist’s Nouvelle Droite) to music (industrial, black metal, neo-folk), terms often preceded with the combining form neo- (as in neo-tribal, neo-pagan, etc.) This is part of an opposition to modernism, of a revolt against the modern world.

Rarely has this amounted to a conscious embrace of the power of evil however. More often, and especially among the young, this has meant flirting with the devil, being naughty, getting an adrenaline rush, emotional thrill, or sexual charge from teasing the dark side. Sometimes it’s conveyed as a conscious provocation, the deliberate use of highly charged language and symbols to outrage those who are invariably labeled “squares.” This is the calculated method of musicians and bands like Boyd Rice and Death in June in the industrial and neo-folk genres who dress fash and talk fash but never actually claim fascism as an up front affiliation. In the end, a small percentage consider their embrace of the left-hand and the right-wing a positive good. That’s the stance of most involved in the ultranationalist Patriot movement because isn’t patriotism a good thing after all? Robert Anton LeVey defined his Satanism as a Nietzschean übermensch philosophy in opposition to the prevailing Christian herd mentality of society at large. And the virulently anti-semitic, Hitler-worshipping murderers of the neo-nazi Atomwaffen Division death squad believe that a new, expanded Holocaust—in which not just Jews and Leftists, but the immoral, degenerate and weak will be exterminated—is a positive, healthy social good.

These diehard characters are downright proud of their badass transgressive Nazi selves, unlike assclown Gavin McInnes and his ilk on the ultra-right who, when called out for throwing a Roman salute or reveling in racial slurs, disguise their dark shit with their disingenuous reactive crap. “Can’t you take a joke?” is their common refrain. Occasionally those who are in dark opposition are actively aided by those who are in reactive opposition. The Elbo Room, a long-standing San Francisco dive bar, recently closed its doors due to lease/landlord issues. In December, 2015, the Elbo Room gained notoriety by proudly hosting a show for the band Death in June and co-owner Matt Shapiro said: Death In June is not a Nazi band, nor a group that preaches hate. While they use controversial imagery and have songs with subject matter that some may find challenging, they are definitely not Nazis, nor hateful. I come from many generations of Jews. Do you think I could look my mother in the eye after booking a Nazi act? Shapiro wasn’t dissembling, he actually believes DiJ aren’t fascist, let alone Nazi or white supremacist. He called out the police against protesters he falsely claimed were wielding knives. “These folks were menacing and looking for trouble.” We have to take Shapiro’s word that DiJ are not fascist and that protesters threatened violence in this prime example of reactive opposition. Had it been the former MRR columnist mentioned above, he would have defended DiJ because they are fascists, in deference to his free speech absolutism. How punk.

Not.

Luis Buñuel once said: “Sex without sin is like an egg without salt,” implying a measured application of transgression to life. I’ll be the first to admit my vanilla opposition is neither aggro enough nor sexy enough for most rebels-in-waiting. Yet reactive opposition and dark opposition are so fraught with problems I’ve barely scratched the surface here. I’ll readily admit having started out in reactive opposition in my youth and I’m sure some would argue that my present vanilla opposition is a sorry climb down from those heady days. But I’m quite proud never to have entertained any dark oppositional tendencies beyond faking Nazi mannerisms with a tiny group of friends taking German in high school. Now that Kavanaugh has been confirmed to the Supreme Court, I can sincerely call that a “youthful indiscretion.”

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.

A high price to pay: “What’s Left?” November 2013, MRR #366

My parents were Polish immigrants, European refugees from the second World War, survivors of Hitler’s forced labor camps. My dad joined the US Army while in UN Displaced Persons camps. He and my mom traveled to America, became US citizens, and settled in San Bernardino at the time of this anecdote. Both my parents spoke English with heavy Polish accents and had only the most basic comprehension of American culture. My mom bought Mahalia Jackson’s vinyl album on Columbia, “Silent Night – Songs for Christmas,” around 1962. I was ten years old at the time, and I remember my mom playing that album over and over in a respectful reverie. A year later, somehow, somewhere, in San Bernardino, my mom managed to find out that Mahalia Jackson was performing in a Southern Baptist Church in Los Angeles. Watts, I think. She corralled my dad into taking our whole family, which included my sister, to drive to the performance.

I have only the vaguest of memories of the drive, of Watts, and of the church. I do, however, remember that we were the only white people in the entire event. I also remember that everybody, all the black people, were incredibly welcoming and polite to my parents, to us. And, I remember Mahalia Jackson singing live, her stupendous voice raising the hair on the back of my neck time and again. My parents had virtually no prejudice against black people at the time. They acquired some in the years afterwards, especially my mom. But, to this day, when I hear beautifully performed gospel singing, I’m roused, I get goose bumps, and my hair on the back of neck stands on end.

This happens even though I remember that Malcolm X once dismissed gospel music as slave music.

Music has always produced visceral responses in me but, unfortunately, I’ve acquired a few prejudices against certain types of music over the years. When I initially heard Beethoven’s brilliant symphonies, I was moved to tears. Yet I considered the music of Brahms to be treacle, despite understanding his virtuosity. Jefferson Airplane and Jimi Hendrix induced rapture when I first heard them. I dismissed the Grateful Dead as utterly moronic. Anything with a disco beat I think of as vacuous, and I like to quote Quentin Crisp that: “A lifetime of listening to disco music is a high price to pay for one’s sexual preference.” Before I came to love Patsy Cline and Hank Williams Sr., I thought all country western music was inbred redneck hillbilly music. The Ramones and the Sex Pistols gave me such an adrenaline rush when I was introduced to punk. But music from the likes of the Cure or Spandau Ballet or Flock of Seagulls? Pour molten lead into my ears and put me out of my misery!

I’ve got wide ranging, eclectic musical tastes. But I also have rather strong, somewhat intolerant opinions about music. I’m trying not to be so judgmental, at least not so openly snide and derisive. Once, when I was reminiscing about the hippie music I used to listen to, I proudly proclaimed: “I drew the line at the Grateful Dead. They were fucking horrible musicians.” One woman in the conversation chided me back: “No one said the Dead were good musicians. That’s not why people followed them around. That’s not what they gave their fans.” That’s when I realized people listen to music for a variety of reasons, only one being the technical expertise and stellar musicianship of those playing said music. I’ve needed to ease up and back off when I praise certain kinds of music and critique others. What I listen to on Pandora isn’t necessarily what you listen to, so let’s give each other a break.

I’m off to Paris for a vacation. November, I sum up international insurrection over the past five years. December, I feature plans for the upcoming year. January, I do some longterm New Year’s resolutions. The last two columns are intended to be suggestive, jumping off points for more comprehensive work. At least, that’s the plan. There might be a surprise or two in the process.

When the mode of the music changes: “What’s Left?” August 2011, MRR #339

I learned about the death of Gil Scott-Heron the same day I went to a sold-out Tony Bennett concert at Davies Symphony Hall in San Francisco. After listening to Tony do standards like “Smile,” “I Left My Heart In San Francisco,” and “Steppin’ Out With My Baby,” I listened to Gil doing “The Revolution Will Not Be Televised,” “Whitey On The Moon,” and “We Almost Lost Detroit” thanks to YouTube. Whereas Tony was a spry, animated, and healthy 84, Gil died at 62 gaunt, HIV positive, and fighting a long crack cocaine addiction. I admire the former as a unique interpreter of the great American songbook, but I revere the latter as a revolutionary black poet, a powerful voice of the ‘60s, and a seminal influence on modern rap and hip hop.

In the HBO TV drama Treme, the character Delmond Lambreaux, a New Orleans modern jazz musician transplanted to New York, listens to traditional New Orleans jazz, Jelly Roll Morton to be exact, on vinyl in his apartment with his girlfriend, Jill. When Jill complains that the music sounds so old-fashioned, Delmond protests that classical music can be over 300 years old and still considered relevant, yet jazz that’s barely 40 years old is dismissed as out of date. The character is clearly frustrated as to why it’s not possible to appreciate both styles of jazz on their own merits.

I’m not trying to judge what type of music is going to stand the test of time. Nor am I arguing that musical genius requires immense suffering and a short lifespan, or even any particular originality. What I am saying is that music which is meaningful in any way must move us, must in some way inspire us, must raise the hair on the back of our necks. The music of the above mentioned performers did just that for me. So did my exposure to the Ramone’s first album, Gang of Four’s Entertainment, Stiff Little Finger’s Inflammable Material, and the Sex Pistol’s Never Mind the Bullocks. Classical music (Beethoven, Bartok, Shostakovitch), bebop (Parker, Gillespie, Coltraine), acid rock (Jefferson Airplane, Moby Grape, Quicksilver Messenger Service), and country (Hank Williams, Johnny Cash, Jimmie Dale Gilmore) also do it for me. In fact, there are only a few categories of music (soft rock, smooth jazz, disco) that I can’t really listen to.

Plato contended, in book four of the Republic, that: “When the mode of the music changes, the walls of the city shake” (as paraphrased by Tuli Kupferberg). Certainly, music has been used historically, by religion and politics, to strip people of their individuality, create ecstatic experiences, and help to forge powerful social movements. And folks in the ‘60s viewed rock music as a revolutionary weapon. My point is much more mundane. Music should feed our souls, uplift us, make us whole. It shouldn’t be used to divide, to make us feel superior to others. I don’t give a shit if you have the same taste in music that I do. Just enjoy yourself, for fuck’s sake.

Street fighting spirit: “What’s Left?” April 2011, MRR #335

Ev’rywhere I hear the sound of marching, charging feet, boy
‘Cause summer’s here and the time is right for fighting in the street, boy
But what can a poor boy do
Except to sing for a rock ‘n’ roll band
‘Cause in sleepy London town
There’s just no place for a street fighting man
No

Written about British Pakistani New Leftie Tariq Ali, this tongue-in-cheek Rolling Stones ditty remains a rousing anthem to a familiar type of political testosterone. I remember that, during the 1970 Isla Vista riots, a local record store hoisted massive speakers onto their roof and blasted “Street Fighting Man” full blast as students battled police in the winding streets of that soporific beach town. Covered by folks as diverse as Rod Stewart and the Ramones, the version done by Zack de la Rocha and Rage Against the Machine embodies the bombast, if not the fury, intended by the Stones.

An acquaintance once commented that politics is a young man’s game. From the Paris riots of 1968, which inspired my initial interest in politics, to the current Cairo riots, young people dominated the streets. And by young people, I mean young men. For while the 60s saw a considerable uptick of female participation in what, at the time, we all considered to be revolutionary activity, the campus occupations and street fighting were still a man’s world. Similarly, reports from Tahrir Square at the beginning of the anti-Mubarak uprising described a surprising sexual equality in the numbers participating in the occupation. But when Mubarak’s supporters, with the help of the secret police, assaulted the protesters with horses and camels, and then laid siege to the square with rocks, molotovs and guns, the complexion of the protest quickly changed to mostly male. Excuse me, but since I don’t give a flying fuck about what’s politically correct, I’m not beyond crediting biology for differences in strength, and testosterone for increased levels of aggression to account for the dominance of young men in street politics.

Hey! Think the time is right for a palace revolution
But where I live the game to play is compromise solution
Well, then what can a poor boy do
Except to sing for a rock ‘n’ roll band
‘Cause in sleepy London town
There’s no place for a street fighting man
No

Street politics is the crucial referent here. To be young, able to hurl abuse and more at the cops, then to outmaneuver and outrun their fat, riot-gear-encumbered asses; that’s what’s thrilling about being a street fighting man. It’s what, approaching 60, with bad feet and a bum knee, I can appreciate only vicariously, or as ever-receding personal memories. I mean, it’s not like I can’t participate in politics per se. Much like war, in which old men make the decisions while young men do the fighting and dying, politics entails the young in the streets and the old in the smoke-filled back rooms. But politics without the streets—the politics of meetings, deal making and compromise—was always an absolute bore to my way of thinking. So, that leaves me on the sidelines, taking in the only politics that truly matter—street politics—as a spectator sport.

Whether as a spectator or as a participant, being a partisan of those who take to the streets to fight the powers that be can produce a skewed view of things. Siding with rioters against the police is like being a Mets or a Red Sox fan in that you’re bound to be on the losing side most of the time. For every Cairo, there are ten thousand Tehrans. Yet such persistent defeat never seems to dampen an irrational optimism among sympathizers whenever and wherever rioting breaks out. I’m in a radical reading group whose ultra left members invariably go into paroxysms of adulation every time a bunch of students go on a rampage, break windows, block traffic, burn dumpsters, and generally make a nuisance of themselves. This exercise in youthful excess, in turn, has been elevated to the absurd heights of a revolutionary strategy by the current crop of insurrectionary anarchists and left communists. Oddly however, Glenn Beck seems to be the only one serious about a specter of permanent insurrection, seeing in Egypt the hand of the Invisible Committee and “the beginning of ‘the coming insurrection.’”

Such surprisingly naïve enthusiasm, and sadly infantile rebellion, is far better than the opportunistic instrumentalism of much of the Leninist Left. When not considered cannon fodder for the party and the revolution, street politics are judged progressive so long as they strike a blow against US hegemony, and insurgents, whatever their political persuasion, are defined either as “objectively anti-imperialist” or in terms of “the enemy of one’s enemy is one’s friend.” Thus, Leninists of various stripes defended the Islamic students who took American embassy personnel hostage in Iran from 1979 to 1981 as radical, even as those students pledged their undying loyalty to Ayatollah Khomeini and his Shiite revolution.

Hey! Said my name is called disturbance
I’ll shout and scream, I’ll kill the king, I’ll rail at all his servants
Well, what can a poor boy do
Except to sing for a rock ‘n’ roll band
‘Cause in sleepy London town
There’s no place for a street fighting man
No

Leave it to Leninism to squeeze all the juice, all the insurrectionary spirit, out of street politics. If the Left were honest, they would take Bakunin’s infamous remark that “the destructive urge is a creative urge” and admit that the destructive urge is sufficient unto itself. There is something absolutely elemental about the whirlwind of destruction unleashed by taking to the streets, and taking them away from the powers that be, even momentarily. We’re not talking about simple hormones here, but about something deeper, Freudian, archetypal; something that transcends human biology to reach what is essential to life. The desire to reduce illusions to ashes, power to shambles, civilization to smoking ruin must be seen in the light of the sheer aesthetic joy in the conflagration itself. It is the stuff of the demiurge, which in Christian mythology goes by the names Satan and Lucifer. Or, as it goes in the Bhagavad-Gita: “I am become Shiva, destroyer of worlds,” which Robert Oppenheimer paraphrased upon witnessing humanity’s detonation of the first atomic bomb. I’ve communed with this deity of destruction perhaps a dozen times in my life thanks to my involvement in radical street politics. An intoxicating experience each time. Which is why this armchair stuff is such a drag.

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