Variations in Explanations of the Tactical Choices Made by Activists Who Confront Organized White Supremacists
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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. -
Libertarian Marxism Mao-Spontex Open Marxism Popular Assembly Sovereign Citizen Movement Spontaneism Sui Iuris
Autonomist Marxist Theory and Practice in the Current Crisis Brian Marks1 University of Arizona School of Geography and Development [email protected] Abstract Autonomist Marxism is a political tendency premised on the autonomy of the proletariat. Working class autonomy is manifested in the self-activity of the working class independent of formal organizations and representations, the multiplicity of forms that struggles take, and the role of class composition in shaping the overall balance of power in capitalist societies, not least in the relationship of class struggles to the character of capitalist crises. Class composition analysis is applied here to narrate the recent history of capitalism leading up to the current crisis, giving particular attention to China and the United States. A global wave of struggles in the mid-2000s was constituitive of the kinds of working class responses to the crisis that unfolded in 2008-10. The circulation of those struggles and resultant trends of recomposition and/or decomposition are argued to be important factors in the balance of political forces across the varied geography of the present crisis. The whirlwind of crises and the autonomist perspective The whirlwind of crises (Marks, 2010) that swept the world in 2008, financial panic upon food crisis upon energy shock upon inflationary spiral, receded temporarily only to surge forward again, leaving us in a turbulent world, full of possibility and peril. Is this the end of Neoliberalism or its retrenchment? A new 1 Published under the Creative Commons licence: Attribution-Noncommercial-No Derivative Works Autonomist Marxist Theory and Practice in the Current Crisis 468 New Deal or a new Great Depression? The end of American hegemony or the rise of an “imperialism with Chinese characteristics?” Or all of those at once? This paper brings the political tendency known as autonomist Marxism (H. -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
Chapter One: Postwar Resentment and the Invention of Middle America 10
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Jeffrey Christopher Bickerstaff Doctor of Philosophy ________________________________________ Timothy Melley, Director ________________________________________ C. Barry Chabot, Reader ________________________________________ Whitney Womack Smith, Reader ________________________________________ Marguerite S. Shaffer, Graduate School Representative ABSTRACT TALES FROM THE SILENT MAJORITY: CONSERVATIVE POPULISM AND THE INVENTION OF MIDDLE AMERICA by Jeffrey Christopher Bickerstaff In this dissertation I show how the conservative movement lured the white working class out of the Democratic New Deal Coalition and into the Republican Majority. I argue that this political transformation was accomplished in part by what I call the "invention" of Middle America. Using such cultural representations as mainstream print media, literature, and film, conservatives successfully exploited what came to be known as the Social Issue and constructed "Liberalism" as effeminate, impractical, and elitist. Chapter One charts the rise of conservative populism and Middle America against the backdrop of 1960s social upheaval. I stress the importance of backlash and resentment to Richard Nixon's ascendancy to the Presidency, describe strategies employed by the conservative movement to win majority status for the GOP, and explore the conflict between this goal and the will to ideological purity. In Chapter Two I read Rabbit Redux as John Updike's attempt to model the racial education of a conservative Middle American, Harry "Rabbit" Angstrom, in "teach-in" scenes that reflect the conflict between the social conservative and Eastern Liberal within the author's psyche. I conclude that this conflict undermines the project and, despite laudable intentions, Updike perpetuates caricatures of the Left and hastens Middle America's rejection of Liberalism. -
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, -
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. -
This Year's Presidential Prop8id! CONTENTS
It's What's Inside That Counts RIPON MARCH, 1973 Vol. IX No.5 ONE DOLLAR This Year's Presidential Prop8ID! CONTENTS Politics: People .. 18 Commentary Duly Noted: Politics ... 25 Free Speech and the Pentagon ... .. .. 4 Duly Noted: Books ................ ......... 28 Editorial Board Member James. Manahan :e Six Presidents, Too Many Wars; God Save This views the past wisdom of Sen. RIchard M .. NIX Honorable Court: The Supreme Court Crisis; on as it affects the cases of A. Ernest FItzge The Creative Interface: Private Enterprise and rald and Gordon Ru1e, both of whom are fired the Urban Crisis; The Running of Richard Nix Pentagon employees. on; So Help Me God; The Police and The Com munity; Men Behind Bars; Do the Poor Want to Work? A Social Psychological Study of The Case for Libertarianism 6 Work Orientations; and The Bosses. Mark Frazier contributing editor of Reason magazine and New England coordinator for the Libertarian Party, explains why libe:allsm .and Letters conservatism are passe and why libertanan 30 ism is where it is at. 14a Eliot Street 31 Getting College Republicans Out of the Closet 8 Last month, the FORUM printed the first in a series of articles about what the GOP shou1d be doing to broaden its base. Former RNC staff- er J. Brian Smith criticized the Young Voters Book Review for the President for ignoring college students. YVP national college director George Gordon has a few comments about what YVP did on The Politics of Principle ................ 22 campus and what the GOP ought to be doing John McCIaughry, the one-time obscure Ver in the future. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.