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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
Cultural Politics and Old and New Social Movements
P1: FHD/IVO/LCT P2: GCR/LCT QC: Qualitative Sociology [quso] ph132-quas-375999 June 13, 2002 19:33 Style file version June 4th, 2002 Qualitative Sociology, Vol. 25, No. 3, Fall 2002 (C 2002) Music in Movement: Cultural Politics and Old and New Social Movements Ron Eyerman1 After a period of interdisciplinary openness, contemporary sociology has only re- cently rediscovered culture. This is especially true of political sociology, where institutional and network analyses, as well as rational choice models, have dom- inated. This article will offer another approach by focusing on the role of music and the visual arts in relation to the formation of collective identity, collective memory and collective action. Drawing on my own research on the Civil Rights movement in the United States and the memory of slavery in the formation of African-American identity, and its opposite, the place of white power music in contemporary neo-fascist movements, I will outline a model of culture as more than a mobilization resource and of the arts as political mediators. KEY WORDS: social movements; representation; performance. COLLECTIVE BEHAVIOR: CULTURE AND POLITICS The study of collective behavior has traditionally included the study of sub- cultures and social movements as central elements. This was so from the beginning when the research field emerged in the disciplinary borderlands between sociology and psychology in the periods just before and after World War II. Using a scale of rationality, the collective behaviorist placed crowd behavior at the most irra- tional end of a continuum and social movements at the most rational. The middle ground was left for various cults and subcultures, including those identified with youth. -
Hate and the Internet by Kenneth S. Stern Kenneth S. Stern Is the American Jewish Committee's Specialist on Antisemitism and E
Hate and the Internet by Kenneth S. Stern Kenneth S. Stern is the American Jewish Committee’s specialist on antisemitism and extremism. Introduction For ten or twenty dollars a month, you can have a potential audience of tens of millions of people. There was a time when these folks were stuck surreptitiously putting fliers under your windshield wiper. Now they are taking the same material and putting it on the Internet." – Ken McVay[i] Visit any archive on hate and extremism and you will find a treasure trove of books, newspapers, magazines and newsletters. If you are lucky enough to find original mailers, many will be plain brown or manila wrappings, designed to protect the recipient from inquisitive neighbors and postal workers. If the archive includes material from the 1980s and early 1990s, it likely contains videotapes and radio programs, maybe even dial-a-hate messages from "hot line" answering machines. It may also house faxed "alerts" that were broadcast to group members with the push of one button, in place of old-fashioned telephone "trees." Supporters of the Branch Davidians at Waco used faxes, as did groups involved in some militia confrontations. Today’s hate groups still mail newsletters, print books, produce videos and radio programs, have message "hot lines," fax alerts and, yes, put fliers under windshield wipers. But they increasingly rely on the Internet. Hate groups understand that this global computer network is far superior to the other modes of communication. Even in its infancy — for the ’net is still being defined — it is already what CDs are to records, and may, for many, become what electricity was to gaslight. -
White Noise Music - an International Affair
WHITE NOISE MUSIC - AN INTERNATIONAL AFFAIR By Ms. Heléne Lööw, Ph.D, National Council of Crime Prevention, Sweden Content Abstract............................................................................................................................................1 Screwdriver and Ian Stuart Donaldson............................................................................................1 From Speaker to Rock Star – White Noise Music ..........................................................................3 Ideology and music - the ideology of the white power world seen through the music...................4 Zionist Occupational Government (ZOG).......................................................................................4 Heroes and martyrs........................................................................................................................12 The Swedish White Noise Scene...................................................................................................13 Legal aspects .................................................................................................................................15 Summary........................................................................................................................................16 Abstract Every revolutionary movement has its own music, lyrics and poets. The music in itself does not create organisations nor does the musicians themselves necessarily lead the revolution. But the revolutionary/protest music create dreams, -
Identifying Extreme Racist Beliefs
identifying extreme racist beliefs What to look out for and what to do if you see any extreme right wing beliefs promoted in your neighbourhood. At Irwell Valley Homes, we believe that everyone has the If you see any of these in any of the neighbourhoods right to live of life free from racism and we serve, please contact us straight away on 0300 discrimination. However, whilst we work to promote 561 1111 or [email protected]. We take equality, racism still exists and we want to take action to this extremely seriously and will work with the Greater stop this. Manchester Police to deal with anyone responsible. This guide helps you to identify some of the numbers, signs and symbols used to promote extreme right wing beliefs including racism, extreme nationalism, fascism and neo nazism. 18: The first letter of the alphabet is A; the eighth letter of the alphabet is H. so, 1 plus 8, or 18, equals AH, an abbreviation for Adolf Hitler. Neo-Nazis use 18 in tat- toos and symbols. The number is also used by Combat 18, a violent British neo-Na- zi group that chose its name in honour of Adolf Hitler. 14: This numeral represents the phrase “14 words,” the number of words in an ex- pression that has become the slogan for the white supremacist movement. 28: The number stands for the name “Blood & Honour” because B is the 2nd letter of the alphabet and H is the 8th letter. Blood & Honour is an international neo-Nazi/ racist skinhead group started by British white supremacist and singer Ian Stuart. -
Loud Proud Passion and Politics in the English Defence League Makes Us Confront the Complexities of Anti-Islamist/Anti-Muslim Fervor
New Ethnographies ‘These voices of English nationalism make for difficult listening. The great strength of Hilary PILKINGTON Pilkington’s unflinching ethnography is her capacity to confound and challenge our political and preconceptions and makes us think harder. This is an important, difficult and brave book.’ Les Back, Professor of Sociology, Goldsmiths, University of London ‘Pilkington offers fresh and crucial insights into the politics of fear. Her unflinchingly honest depiction of the EDL breaks apart stereotypes of rightist activists as simply dupes, thugs, and racists and Loud proud PASSION AND POLITICS IN THE ENGLISH DEFENCE LEAGUE makes us confront the complexities of anti-Islamist/anti-Muslim fervor. This terrific, compelling book is a must-read for scholars and readers concerned about the global rise of populist movements on the right.’ Kathleen Blee, Distinguished Professor of Sociology, University of Pittsburgh Loud and proud uses interviews, informal conversations and extended observation at English Defence League events to critically reflect on the gap between the movement’s public image and activists’ own understandings of it. It details how activists construct the EDL and themselves as ‘not racist, not violent, just no longer silent’ through, among other things, the exclusion of Muslims as a possible object of racism on the grounds that they are a religiously not racially defined Loud group. In contrast, activists perceive themselves to be ‘second-class citizens’, disadvantaged and discriminated against by a two-tier justice system that privileges the rights of others. This failure to recognise themselves as a privileged white majority explains why ostensibly intimidating EDL street demonstrations marked by racist chanting and nationalistic flag waving are understood by activists as standing ‘loud and proud’; the only way of being heard in a political system governed by a politics of silencing. -
The Sounds of Hate: the White Power Music Scene in the United
The Sounds of Hate The White Power Music Scene in the United States in 2012 The recent tragic shooting spree at the Sikh temple in Oak Creek, Wisconsin, in which Wade Michael Page killed six people before killing himself after a shootout with police, has drawn attention to the shadowy world of white power music. Page, a committed white supremacist and member of the Hammerskins, a hardcore racist skinhead group, was heavily involved in the white power music scene in the United States. He played in a number of white power bands over the previous 12 years, most prominently the bands Definite Hate and End Apathy. Page was just one of hundreds of white supremacist musicians listened to by thousands of white supremacists in the United States and beyond. Today, white power music permeates the subculture of the white supremacist movement. Not all white supremacists enjoy white power music, but many of them do, especially neo-Nazis and racist skinheads. For listeners, white power music is not simply entertainment. It is music with a message, a medium used to express an ideology suffused with anger, hatred and violence. 1 WHITE POWER MUSIC IN THE UNITED STATES Today, white power music is well established in the United States, where it has existed for three decades. Hate music arose originally in Great Britain in the 1970s as the skinhead subculture that originated there diverged into two different streams: a traditional skinhead stream and a racist skinhead stream. As racist skinheads emerged, they created a white supremacist variation of the skinhead-related music genre called Oi! (sometimes also known by the Attendees at Plunder and Pillage 2011 deliberate euphemism “Rock against Communism” or RAC). -
The Long Evolution of Extreme Right Music in Italy and Germany
PA rtecipazione e CO nflitto * The Open Journal of Sociopolitical Studies http://siba-ese.unisalento.it/index.php/paco ISSN: 1972-7623 (print version) ISSN: 2035-6609 (electronic version) PACO, Issue 13(1) 2020: 207-231 DOI: 10.1285/i20356609v13i1p207 Published in March 15, 2020 Work licensed under a Creative Commons At- tribution-Non commercial-Share alike 3.0 Italian License RESEARCH ARTICLE THE LONG EVOLUTION OF EXTREME RIGHT MUSIC IN ITALY AND GERMANY Giorgia Bulli University of Florence ABSTRACT: The importance of music in extreme right political culture is acknowledged in recent academic and non-academic contributions in Italy and Germany. Patterns of music development in different Europe- an contexts reflect the prevailing ideological dimension of the role of this cultural expression in the ex- treme right context (Dyck 2016). Labels such as “White power music”, “Rechtsrock” and “Reichsrock” all point to various trajectories in the recruitment and socialization functions of extreme right music. In Italy, the concept of “rock identitario” designates the most successful form of music production by well-known bands directly linked to political movements. However, identitarian rock is only the arrival point of a long tradition of music development within the Italian Extreme Right. In Germany, recent investigations of the “Rechtsrock” phenomenon have highlighted the intense internationalization of networks of extreme right movements that mostly mobilize cultural manifestations of extreme right ideologies. The analysis com- prises a diachronic enquiry into the development of extreme right music in Germany and Italy. From a comparative perspective, the paper will highlight how – no different from other political languages – changes in music production both reflect and go along with the transformation of the Italian and German Extreme Right from an organizational, political culture and strategic perspective1. -
14 European Far-Right Music and Its Enemies Anton Shekhovtsov
14 European Far-Right Music and Its Enemies Anton Shekhovtsov I’m patriotic, I’m racialistic, My views are clear and so simplistic (English Rose, 2007b) In a self-conducted interview that appeared in his manifesto, Norwegian would-be right-wing terrorist and killer Anders Behring Breivik, under the pen name Andrew Berwick, argued that specifi c music helps sustain ‘high morale and motivation’ of ‘self-fi nanced and self-indoctrinated single in- dividual attack cells’ (2011, p. 856). He went on to list several ‘motiva- tional music tracks’ he particularly liked. Breivik described one of these tracks, ‘Lux Æterna’, by Clint Mansell, which was featured in the trailer for Peter Jackson’s The Lord of the Rings : The Two Towers , as ‘very inspir- ing’ and as invoking ‘a type of passionate rage within you’ (2011, p. 858). On 22 July 2011, ‘Lux Æterna’ supposedly played in his iPod while he was killing members of the Workers’ Youth League of the Norwegian Labour Party on the island of Utøya (Gysin, Sears and Greenhill, 2011). Another artist favoured by Breivik in his manifesto is Saga, ‘a courageous, Swedish, female nationalist-oriented musician who creates pop-music with patriotic texts’ (2011, p. 856). Saga soared to the heights of right-wing fame in 2000, when she released three volumes of My Tribute to Skrewdriver on the Swedish right-wing label Midgård Records (2000a). Her three-volume album featured cover versions of Skrewdriver, a model White Power band, whose late leader, Ian Stuart Donaldson, founded the Blood & Honour (B&H) music promotion network in 1987. -
The North American White Supremacist Movement: an Analysis Ofinternet Hate Web Sites
wmTE SUPREMACIST HATE ON THE WORLD WIDE WEB "WWW.HATE.ORG" THE NORTH AMERICAN WIDTE SUPREMACIST MOVEMENT: AN ANALYSIS OF INTERNET HATE WEB SITES By ALLISON M. JONES, B.A. A Thesis Submitted to the School ofGraduate Studies in Partial Fulfilment ofthe Requirements for the Degree Master ofArts McMaster University © Copyright by Allison M. Jones, October 1999 MASTER OF ARTS (1999) McMASTER UNIVERSITY (Sociology) Hamilton, Ontario TITLE: "www.hate.org" -- The North American White Supremacist Movement: An Analysis ofInternet Hate Web Sites AUTHOR: Allison M. Jones, B.A. (York University) SUPERVISOR: Professor V. Satzewich NUMBER OF PAGES: v, 220 ii Abstract This thesis is a qualitative study ofNorth American white supremacist organisations, and their Internet web sites. Major issues framing the discussion include identity and racism. The thesis takes into consideration Goffman's concepts of'impression management' and 'presentation ofself as they relate to the web site manifestations of 'white power' groups. The purpose ofthe study is to analyse how a sample ofwhite supremacist groups present themselves and their ideologies in the context ofthe World Wide Web, and what elements they use as a part oftheir 'performances', including text, phraseology, and images. Presentation ofselfintersects with racism in that many modern white supremacists use aspects ofthe 'new racism', 'coded language' and'rearticulation' in the attempt to make their fundamentally racist worldview more palatable to the mainstream. Impression management techniques are employed in a complex manner, in either a 'positive' or 'negative' sense. Used positively, methods may be employed to impress the audience with the 'rationality' ofthe arguments and ideas put forth by the web site creators. -
Two-Faced Racism: Whites in the Backstage and Frontstage Leslie H
University of Dayton eCommons Sociology, Anthropology, and Social Work Faculty Department of Sociology, Anthropology, and Social Publications Work 2007 Two-Faced Racism: Whites in the Backstage and Frontstage Leslie H. Picca University of Dayton, [email protected] Joe R. Feagin Texas A & M University - College Station Follow this and additional works at: http://ecommons.udayton.edu/soc_fac_pub Part of the Civic and Community Engagement Commons, Community-based Learning Commons, Community-based Research Commons, Criminology Commons, Educational Sociology Commons, Family, Life Course, and Society Commons, Other Sociology Commons, Social and Cultural Anthropology Commons, Social Psychology and Interaction Commons, and the Social Work Commons eCommons Citation Picca, Leslie H. and Feagin, Joe R., "Two-Faced Racism: Whites in the Backstage and Frontstage" (2007). Sociology, Anthropology, and Social Work Faculty Publications. Paper 11. http://ecommons.udayton.edu/soc_fac_pub/11 This Book is brought to you for free and open access by the Department of Sociology, Anthropology, and Social Work at eCommons. It has been accepted for inclusion in Sociology, Anthropology, and Social Work Faculty Publications by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. 3 THE BACKSTAGE Racial events that reveal the larger forces of racism in society are com mon and obvious in the sociospatial realm we term the backstage, especially in situations where whites interact with white friends and relatives. Backstage settings, where interactions typically take place among whites only, involve an array of complex interactions and per formances. There we observe all dimensions of racial events-- indica tions of who is allowed and not allowed in the backstage, what racialized performances are tolerated or expected there, the sociospatial character of contexts, the impact of conventional racial framing, and the perva sive influence of the larger society. -
Monitoring Offensive and Discriminatory Signs in European Football
www.farenet.org Monitoring offensive and discriminatory signs in European football www.farenet.org 1 www.farenet.org Introduction Contents Football should be a game that can be enjoyed by everyone, without the fear of abuse and discrimination. Unfortunately at many matches and stadiums across Europe, this is not always the case and fans and players can face abuse because of the colour of their skin or their religion, or can feel victimised because they are gay or have a disability. The FARE Network is working with photographs of banners in football 4 Commonly displayed far right partners across the game, including stadiums. As well as signs and signs and symbols European football’s governing symbols common across the whole body, UEFA and NGO’s such as the of Europe, there are is also specific 13 Letter and number codes Never Again Association to try to sections that relate to different make the game a welcoming and European countries. 15 Clothing brands and prints safe environment for all football fans and to ensure that the use of It is hoped that this guide will help 17 Country specific symbols racist and homophobic language encourage everyone involved with and the displaying of offensive the game to make a stand against 22 Other racist flags and images banners is eradicated from all racism and discrimination and to football stadiums. help make football a welcoming 23 Other areas of discrimination and safe environment for fans and The aim of this booklet is to help players across the whole of Europe. football fans identify racist, neo- Nazi, homophobic and abusive images towards disabled people, in an easy to carry pocket size guide.