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A new wave of aspiring neo-Nazi terrorists has arisen—including the infamous Atomwaffen Division. And they have a bible: James Mason’s Siege, which praises terrorism, serial killers, and Charles Manson. Neo-Nazi Terrorism and Countercultural Fascism, based on years of archival work and interviews, documents for the first time the origins of Siege. First, it shows how Mason’s vision arose from debates by 1970s neo-Nazis who splintered off the American Nazi Party/National Socialist White People's Party and spun off a terrorist faction. Second, it unveils how four 1980s countercultural figures—musicians Boyd Rice and Michael Moynihan, Feral House publisher Adam Parfrey, and Satanist Nikolas Schreck—discovered, promoted, and published Mason. Neo-Nazi Terrorism and Countercultural Fascism explores a previously overlooked period and unearths the hidden connections between a countercultural clique and violent neo-Nazis—which together have set the template for today’s Neo-nazi terrorist underground. It is obligatory reading for those interested in contemporary terrorism, postwar countercultures, and the history of the U.S. Far Right and neo-Nazism.
An indispensable sampling of the vast assortment of publications which exist as an adjunct to the mainstream press, or which promote themes and ideas that may be defined as pop culture, alternative, underground or subversive. Updated and revised from the pages of the critically acclaimed Headpress journal, this is an enlightened and entertaining guide to the counter culture - including everything from cult film, music, comics and cutting-edge fiction, by way of its books and zines, with contact information accompanying each review.
"After the blast, Kurt Cobain's body slumped. Next to his corpse lay a piece of paper with his last words. At the time the bullet seared his head, Cobain was a rock star, his grizzled face graced the covers of slick music industry magazines, his songs received mainstream radio play, his band Nirvana performed in huge arenas. But he had been thinking an awful lot about what he called the "punk rock world" that saved his life during his teen years and that he had subsequently abandoned for stardom. He first encountered this world in the summer of 1983, at a free show the Melvins held in a Thriftway parking lot. After hearing the guttural sounds and watching kids dance by slamming against one another, he ran home and wrote in his journal: "This was what I was looking for," underlined twice. As he dove into this world, he recognized its blistering music played in odd venues, but also a wider array of creativity, like self-made zines, poetry, fiction, movies, artwork on flyers and record jackets, and even politics. This too: how all of these things opened up spaces for ideas and arguments. Now in his suicide note he reflected on his "punk rock 101 courses," where he learned "ethics involved with independence and the embracement of your community."2 There are people who can recount where they were when Cobain's suicide became news. I was in Ithaca, NY, finishing up my dissertation... but my mind immediately hurled backwards to growing up in Washington, D.C.'s "metropolitan area" (euphemism for suburban sprawl). I started to remember the first time I entered this "punk rock world." Around a year or two before Cobain went to the Thriftway parking lot, I opened the doors of the Chancery, a small club in Washington, D.C., and witnessed a tiny little stage, maybe a foot and a half off the ground. Suddenly, a small kid about my age (fifteen), his hair bleached into a shade of white that glowed in the lights, jumped up. I remember it being brighter than expected (unlike my earlier, wee-boy experiences in darkened, cavernous arenas where bands like Kiss or Cheap Trick would play to me and thousands of stoned audience members). This kid with the blond hair might have said something, I don't remember, what I recall is that his band broke into the fastest, most vicious sounding music I had ever heard. Suddenly bodies started flying through the air, young men (mostly) propelling themselves off the ground into the space between one another, flailing their arms, skin smacking skin. Control was lost, for when a body moved in one direction, another body collided into its path. When someone fell over, another would pick him up. The bodies got pushed onto the stage, making it hard to differentiate performer from audience member. At one moment it appeared the singer had been tackled by a clump of kids, and he seemed to smile. Sometimes, I could even make out what the fifteen-year old was shouting, especially, "I'm going to make their society bleed!" Overwhelmed, I rushed outside to clear my head"--
What is authority? How is it constituted? How ought one understand the subtle (and sometimes not-so-subtle) relations between authority and coercion? Between authorized and subversive speech? In this fascinating and intricate analysis, Bruce Lincoln argues that authority is not an entity but an effect. More precisely, it is an effect that depends for its power on the combination of the right speaker, the right speech, the right staging and props, the right time and place, and an audience historically and culturally conditioned to judge what is right in all these instances and to respond with trust, respect, and even reverence. Employing a vast array of examples drawn from classical antiquity, Scandinavian law, Cold War scholarship, and American presidential politics, Lincoln offers a telling analysis of the performance of authority, and subversions of it, from ancient times to the present. Using a small set of case studies that highlight critical moments in the construction of authority, he goes on to offer a general examination of "corrosive" discourses such as gossip, rumor, and curses; the problematic situation of women, who often are barred from the authorizing sphere; the role of religion in the construction of authority; the question of whether authority in the modern and postmodern world differs from its premodern counterpart; and a critique of Hannah Arendt's claims that authority has disappeared from political life in the modern world. He does not find a diminution of authority or a fundamental change in the conditions that produce it. Rather, Lincoln finds modern authority splintered, expanded, and, in fact, multiplied as the mechanisms for its construction become more complex—and more expensive.
An overview of the art of Stanislav Szukalski. Szukalski (1893-1987) was one of the great sculptors of the 20th Century. Due to geopolitical upheavals in his native land, Poland, a large proportion of his work was destroyed. Yet thanks to the efforts of a group of dedicated art patrons, art critics, and personal acquaintances, the work of Szukalski is being rediscovered. This is the first critical view of his work published since 1923, and contains writings, drawings, and photographs of his sculpture.
In v.1-8 the final number consists of the Commencement annual.
This book investigates terrorism and anti-terrorism as related and interacting phenomena, undertaking a simultaneous reading of terrorist and statist ideologists in order to reconstruct the 'deadly dialogue' between them. This work investigates an extensive array of violent phenomena and actors, trying to broaden the scope and ambition of the history of terrorism studies. It combines an extensive reading of state and terrorist discourse from various sources with theorizing of modernity's political, institutional and ideological development, forms of violence, and its guiding images of self and other, order and disorder. Chapters explore groups of actors (terrorists, pirates, partisans, anarchists, Islamists, neo-Nazis, revolutionaries, soldiers, politicians, scholars) as well as a broad empirical source material, and combine them into a narrative of how our ideas and concepts of state, terrorism, order, disorder, territory, violence and others came about and influence the struggle between the modern state and its challengers. The main focus is on how the state and its challengers have conceptualized and legitimated themselves, defended their existence and, most importantly, their violence. In doing so, the book situates terrorism and anti-terrorism within modernity's grander history of state, war, ideology and violence. This book will be of much interest to students of critical terrorism studies, political violence, sociology, philosophy, and Security Studies/IR in genera Mikkel Thorup is Assistant Professor at the Institute of Philosophy and the History of Ideas, University of Aarhus, Denmark.
The authoritative biography of the 60s countercultural icon who wrote SCUM Manifesto, shot Andy Warhol, and made an unforgettable mark on feminist history. Valerie Solanas is one of the most polarizing figures of 1960s counterculture. A cult hero to some and vehemently denounced by others, she has been dismissed but never forgotten. Known for shooting Andy Warhol in 1968 and for writing the infamous SCUM Manifesto, Solanas became one of the most famous women of her era. But she was also diagnosed with paranoid schizophrenia and spent much of her life homeless or in mental hospitals. Solanas’s SCUM Manifesto, a sui generis vision of radical gender dystopia, predicted ATMs, test-tube babies, the Internet, and artificial insemination long before they existed. It has sold more copies and been translated into more languages than nearly all other feminist texts of its time. And yet, shockingly little work has investigated the life of its author. This book is the first biography about Solanas, including original interviews with family, friends (and enemies), and numerous living Warhol associates. It reveals surprising details about Solanas’s life: the children nearly no one knew she had, her drive for control over her own writing, and her elusive personal and professional relationships. Valerie Solanas reveals the tragic, remarkable life of an iconic figure. It is “not only a remarkable biographical feat but also a delicate navigation of an unwieldy, demanding, and complex life story” (BOMB Magazine).