Anarcho-punk

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Anarcho-punk (also known as anarchist punk<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> or peace punk<ref name="Sartwell">Template:Cite book</ref>) is an ideological subgenre of punk rock that promotes anarchism. Some use the term broadly to refer to any punk music with anarchist lyrical content, which may figure in crust punk, hardcore punk, folk punk, and other styles.

HistoryEdit

File:Crass pete steve andy.png

Crass, shown here in 1984, played a major role in introducing anarchism to the punk subculture.

Before 1977Edit

Some members of the 1960s protopunk bands such as the MC5,<ref>Template:Cite book</ref> The Fugs, Hawkwind, and the Edgar Broughton Band<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> had new left or anarchist ideology. These bands set a precedent for mixing radical politics with rock music and established the idea of rock as an agent of social and political change in the public consciousness. Other precursors to anarcho-punk include avant-garde art and political movements such as Fluxus, Dada, the Beat generation, England's angry young men (such as Joe Orton), the surrealism-inspired Situationist International, the May 1968 uprising in Paris, and the Campaign for Nuclear Disarmament. Jello Biafra of the Dead Kennedys has cited the Yippies as an influence on his activism and thinking.<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref>

Post 1977Edit

A surge of popular interest in anarchism occurred during the 1970s in the United Kingdom following the birth of punk rock, in particular the Situationist-influenced graphics of Sex Pistols artist Jamie Reid, as well as that band's first single, "Anarchy in the U.K.".<ref>Template:Cite journal</ref> Crass and the Poison Girls funded the rented Wapping Autonomy Centre with a benefit single and this then inspired other squatted self-managed social centres in London such as the Ambulance Station on Old Kent Road, Centro Iberico, Molly's Café on Upper Street and the Bingo Hall opposite Highbury & Islington station (now the Garage).<ref name="bergcentres">Template:Cite book</ref> The concept (and aesthetics) of anarcho-punk was quickly picked up on by bands like Flux of Pink Indians, Subhumans and Conflict.<ref name="berger">Template:Harvp</ref>

The early 1980s saw the emergence of the Leeds anarcho-punk scene with groups like Abrasive Wheels, The Expelled and Icon A.D.<ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref> From this scene came Chumbawamba, whose emphasis on confrontational political activism soon overtook their connection to the scene. Despite their anti-corporate views, the group signed to EMI, leading to their 1997 single "Tubthumping" reaching number 2 on the UK Singles Chart.<ref name="The City Talking">Template:Cite AV media</ref>

Pioneering crust punk bands Antisect, Anti System, Sacrilege and Amebix all began in the anarcho-punk scene, before incorporating their anarchist lyrical themes with elements of early heavy metal.<ref name="Rise of Crust">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Early British grindcore bands like Carcass, Napalm Death and Extreme Noise Terror were primarily a part of the 1980s anarcho-punk scene, however began embracing elements of extreme metal and American thrashcore.<ref name="Glasper 2009, p. 11">Glasper 2009, p. 11</ref>

United StatesEdit

Anarcho-punk spread to the United States in the late 1970s with groups like Austin's MDC and San Francisco's Dead Kennedys. Los Angeles' Black Flag also embraced anarchists politics between 1982 and 1986, when Henry Rollins was their vocalist.<ref name="Sartwell" /> United States anarcho-punk generally supported revolutions in Latin America and anti-Apartheid movements and criticised the Presidency of Ronald Reagan.<ref>Template:Cite book</ref>

In the 1980s, New York City cultivated a thriving anarcho-punk scene. Beginning as a part of the larger New York hardcore scene, bands like Reagan Youth, False Prophets and Heart Attack<ref name="Rettman 2015, p219" /> made use of a similar musical style and mentality to their British counterparts.<ref>Template:Cite book</ref> This scene split from New York hardcore as the decade progressed.<ref name="Rettman 2015, p219">Template:Cite book</ref> Nausea were a key figure in the scene during this period, helping to cultivate a new scene in the city based around politics and squatting.<ref>Template:Cite book</ref>

In the 2000s, American anarcho-punk groups like Anti-Flag and Against Me gained significant mainstream success for the genre.<ref name="Sartwell" /><ref>Template:Cite book</ref>

IdeologyEdit

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}} Anarcho-punk bands often disassociated themselves from established anarchist currents like collectivist anarchism, anarcho-syndicalism or anarcho-communism. Because of this, as well as their emphasis on pacifism, the scene was generally independent of the wider anarchist movement at the time. Bands generally supported animal rights, anti-corporatism, labour rights and the anti-war movement.<ref>Template:Cite journal</ref> Some of the tensions with more established political campaign groups were seen in the co-optation by Crass of the Campaign for Nuclear Disarmament logo in the late 1970s and early 1980s, and the band's mostly unsuccessful attempts to work with CND.<ref>See McKay, G. 2019. "They've got a bomb: sounding anti-nuclearism in the anarcho-punk movement in Britain, 1978-84." Rock Music Studies 6(2): 1-20. doi: 10.1080/19401159.2019.1673076 </ref>

Anarcho-punks have criticised the flaws of the punk movement and the wider youth culture. Bands like Crass and Dead Kennedys have written songs that attack corporate co-option of the punk subculture, people who are deemed to have sold out, and the violence between punks, skinheads, B-boys, other youth subcultures,<ref name="berger"/><ref name="autogenerated1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and within punk itself. Some anarcho-punks are straight edge, claiming that alcohol, tobacco, drugs and promiscuity are instruments of oppression and are self-destructive because they cloud the mind and wear down a person's resistance to other types of oppression. Some also condemn the waste of land, water and resources necessary to grow crops to make alcohol, tobacco and drugs, forfeiting the potential to grow and manufacture food. Some may be straight edge for religious reasons, such as in the case of Christian, Muslim, and Buddhist anarcho-punks (see Anarchism and religion for more background).

Although Crass initially espoused pacifism, this is not necessarily the case for all anarcho-punks. Despite the broader punk subculture's antagonism towards hippies, the ideals of the hippie counterculture were an influence on anarcho-punk. Crass were explicit regarding their associations with the hippie counterculture,<ref name="berger" /><ref name="autogenerated1" /> and this influence has also carried over to crust punk.

Direct actionEdit

Anarcho-punks universally believe in direct action, although the way in which this manifests itself varies greatly. Despite their differences in strategy, anarcho-punks often co-operate with each other. Many anarcho-punks are pacifists (e.g. Crass and Discharge) and therefore believe in using non-violent means of achieving their aims. These include nonviolent resistance, refusal of work, squatting, economic sabotage, dumpster diving, graffiti, culture jamming, ecotage, freeganism, boycotting, civil disobedience, hacktivism and subvertising. Some anarcho-punks believe that violence or property damage is an acceptable way of achieving social change (e.g. Conflict). This manifests itself as rioting, vandalism, wire cutting, hunt sabotage, participation in Animal Liberation Front, Earth Liberation Front, or even Black Bloc style activities, and in extreme cases, bombings. Many anarchists dispute the applicability of the term "violence" to describe destruction of property, since they argue that destruction of property is done not to control an individual or institution but to take its control away.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref>

DIY punk ethicEdit

Many anarcho-punk bands subscribe to a "do-it-yourself" (DIY) ethic. A popular anarcho-punk slogan is "DIY not EMI," a conscious rejection of a major record company.<ref>Template:Cite book</ref> Many anarcho-punk bands were showcased on the Bullshit Detector series of LPs released by Crass Records and Resistance Productions between 1980 and 1994. Some anarcho-punk performers were part of the cassette culture. This allowed artists to bypass the traditional recording and distribution routes, with recordings often being made available in exchange for a blank tape and a self-addressed envelope. The anarcho-punk movement has its own network of fanzines, punk zines, and self-published books<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> which disseminate news, ideas and artwork from the scene. These are DIY productions, tending to be produced in runs of hundreds at most. The 'zines are printed on photocopiers or duplicator machines, and distributed by hand at punk concerts, in radical bookstores and infoshops, and through the mail.

Musical style and aestheticsEdit

Anarcho-punk bands are often less focused on particular musical delivery and more focused on a totalised aesthetic that encompasses the entire creative process, from album and concert art, to political message, and to the lifestyles of the band members.<ref name="allmusic">[{{#ifeq: yes | yes | https://www.allmusic.com/explore/style/d11374{{

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}} allmusic] quotation: Template:Quotation</ref> Crass listed as band members the people who did their album art and live visuals. The message is considered to be more important than the music.<ref name="berger" /><ref name="allmusic"/> According to the punk aesthetic, one can express oneself and produce moving and serious works with limited means and technical ability.<ref name="allmusic"/><ref name="Byrne2010">David Byrne, Jeremy Deller (2010) Audio Games, in Modern Painters, 1 March 2010 quotation: Template:Quotation</ref> It is not uncommon for anarcho-punk songs to lack the usual rock structure of verses and a chorus, however, there are exceptions to this. For example, later Chumbawamba songs were at the same time anarcho-punk and pop-oriented.<ref>Template:Cite magazine</ref>

Bands such as Crass, Conflict, Nausea and Chumbawamba make use of both male and female vocalists.<ref name="Larkin80">Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="The City Talking" /><ref>Rimbaud, P; "...EXIT – 'The Mystic Trumpeter, Live at the Roundhouse 1972'" accompanying booklet, Exitstencil Recordings 2013</ref>

Not all anarcho-aesthetics were reductive or simplistic though. George McKay had written of the idea of 'Crassonics', the sounds that the band Crass used or made in the recording studio to represent the nuclear sublime. These 'incorporated sounds of destruction, alienation, and accusation, in a righteous and relentless assault on the new nuclear norm.... [L]istenability and expressibility seemed polar opposites: to express nuclear horror in music ... one had to interrogate the limits of what one would be willing to listen to.'<ref>McKay, G. 2019. '"They've got a bomb": sounding anti-nuclearism in the anarcho-punk movement, 1978=84.' Rock Music Studies (6)2: 1-20.</ref>

ReferencesEdit

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BibliographyEdit

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Geoff Eley - "Do It Yourself Politics (DIY)", Forging Democracy: The History of the Left in Europe, 1850-2000, chapter 27: "The Center and the Margins: Decline or Renewal?." Oxford University Press, 2002. Template:ISBN p. 476-481.
Ian Glasper - The Day the Country Died: A History of Anarcho Punk 1980 to 1984 (Cherry Red publishing, 2006 Template:ISBN)
Craig O'Hara - Philosophy of Punk: More Than Noise (AK Press, 1999 Template:ISBN)
George Berger - The Story of Crass (London: Omnibus Press 2006, Template:ISBN)