A conversation with Tariq D. Khan, author of The Republic Shall Be Kept Clean: How Settler Colonial Violence Shaped Antileft Repression, out from University of Illinois Press in 2023. In this conversation we talk about the connections between the anti-Indigenous motivations of the genocidal frontier wars in the US and the inward turn to heretical movements pushing for freedom for the laboring classes through the great upheavals of the period known as the Nadir, between the end of post-Civil War Reconstruction and the 1920’s. We talk about the roots of anti-Leftist violence of the various Red Scares and intersections with the institutions and psychology of white supremacy settler colonialism as well as the importance of resistance and education.
Written In Red by UNWOMAN (written by Voltairine DeCleyre)
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Transcription
TFSR: Thank you for joining us, Dr Khan. Would you please introduce yourself to the audience with any name, location, or affiliations that make sense for this interview?
Tariq Khan: My name is Tariq Khan. I’m a lecturer in the Department of Ethnicity, Race, and Migration at Yale University in New Haven, Connecticut.
TFSR: Awesome. Thank you so much for being here. I really appreciate it, and I really appreciate your book. We’re here to talk about the current state of the USA, where we stand politically, and with the current crisis. This is backed by a lot of the history that you document in The Republic Shall Be Kept Clean: How Settler Colonial Violence Shaped Antileft Repression, out in 2023 from University of Illinois Press. I wonder if you could tell us a bit about the book and the story that you tell in it.
Tariq Khan: Sure. This book was a long time in the making. I actually started thinking along these lines way back when George W Bush was president. I was involved in the anti-war movement, and a lot of organizing around issues of racism, war, anti-imperialism, and all that sort of thing.
I was living in the Washington, DC area, and there were many hate crimes, especially targeting Muslims or people who were perceived as Muslims. For example, there were a lot of Hindus and Sikhs, Jews, and other people who weren’t Muslim, but by what they looked like, people thought they were Muslim and targeted them for hate crimes as well. As a result of the invasion and occupation of Iraq, there was a lot of language around at that time of “civilization versus savagery.”
There were advertisements in the Washington, DC, subway system, also in New York, and also on some buses in California that I heard a Zionist group had paid to put up that said: “In the war of the civilized man versus the savage, support the civilized man.” Groups like the Council on American Islamic Relations were pointing out to the transportation authorities that this is hate speech. It’s going to contribute to a climate that’s conducive to hate crimes. And sure enough, in the New York City subways, in the same place where those kinds of ads were running, a woman shoved a man in front of an oncoming train and killed him. And when she immediately got caught by the police, she just said, “I’ve been beating them up ever since they attacked us on 9.11.”
All those incidents made me think about the language of civilization versus savagery. It started as an exploration of that language. Then it grew into a bigger project, because it led into a longer story of US settler colonialism, and the relationship between US outward imperialism and outward war to inward repression.
The book examines that relationship. It’s arguing that these are not separate stories. In the history of labor and the working class, many historians use euphemisms, like westward expansion. They treat the story of westward expansion as one thing, and stuff going on in US industrial centers as a different story. I’m saying that it’s actually the same story. So that’s what I’m doing in this book.
TFSR: I think that’s really interesting, when you’re talking about the outward war and the inward repression… The title of the book talks about anti-left repression, but it also focuses on the topic of settler colonial violence. When you’re talking about westward expansion, and that period of time, a lot of the political discourse and a lot of the debate at a higher level was about where are we going to allow chattel slavery to exist? Maybe there are treaties with the neighboring peoples, and there’s the tension and the conflict for the white settler to be able to expand and take more land. A huge amount of the “founding fathers” and the early presidents of the country made their riches off of enclosing, stealing, and emptying, to some degree, indigenous lands, and then, with the support of surveyors, they became real estate moguls.
I really appreciate the fact that the book doesn’t just focus on how leftists have had a hard time, but is looking at “Why? Why have anarchists and communists been focused on? What elements of the American psyche, or the US psyche, are being activated through this? What are the grievances or the dangers that are being pointed to with these ‘alien subjects’, and what’s the perspective that’s doing the alienating? Who’s the central character in this?” If that makes sense. I’m really hoping to pursue some of that.
I wanted to speak a bit about the use of the term ‘clean’ in the title of the book. What and who were considered clean from the perspective of the book, or from the historical read, and who was applying the term?
Tariq Khan: That language of peoples who are clean and peoples who are dirty is a staple of white supremacy, but it’s a weird way of talking about entire groups of people. When you see groups of people described as dirty, something is going on on a psychological level with the people who are using that kind of language. Anthropologists have written about that kind of language of purity and most of the anthropologists actually were citing what we call the father of American psychology, William James. He looked at what dirt is. Dirt is matter out of place. If hair is on your head, nobody is like, “Ooh, gross. There’s a hair on your head.” But take out one of those hairs and put it on a dinner plate, and it’s like, “Ooh, there’s a hair on my plate. Now your plate is dirty.” It’s out of place, that’s what makes it dirty.
When we’re looking at peoples, essentially the notion of dirt implies a kind of system in existence, and then dirt is a contravention of that system. That’s how William James talked about it. And when they’re calling peoples dirty, they’re talking about them as out of place, peoples who don’t belong here. So a lot of these migrant groups coming to the United States who are dirty peoples who we need to send back. Or even indigenous peoples who actually belonged here more than anyone else, and yet they were being called dirty, but they were being described as out of place in time, as belonging to the past, or evolutionarily out of place.
When you see the language of clean and dirty, then it almost always accompanies genocidal policies, policies of expulsion, containment, extermination, and removal. The title of the book, The Republic Shall Be Kept Clean, is a quote from US Congressman William Vail, from the time of the deportation of some 250 anarchists, many of them Jewish and all of them born within the borders of what was then the Russian Empire. As they were being deported on the SS Buford, he said, “The cancer is being removed, the Republic shall be kept clean, and in its cleanliness shall endure.” This is before the Nazis and all of that. This is the US American language that’s rooted in US settler colonial history.
TFSR: That’s interesting. I don’t want to focus on the Nazis because of the centrality of the story that you’re telling. But I think a lot of people don’t realize how central the actions, the ideology, and the mythos of the US settling and the conquest of the West were to Germany at the beginning of the 20th century, and also to Hitler personally. Would you like to say a few words about the modeling of what happened during the Holocaust, during the Shoah, and the relationship to the eugenicist approach that the US had already embarked on?
Tariq Khan: Hitler and some of his higher-ranking guys were very open about the fact that they were learning from the United States. They pointed to the US genocide against indigenous groups as a great example of how countries should be dealing with the undesirables. In the United States, they have this language of the white man taming the Wild West. Hitler even used that language. Drawing on that, he talked about how the Nazis are taming the Wild East. Looking at the undesirable peoples, the Jews, the Roma, and all the different kinds of groups that the Nazis were going after.
They were quite open about the fact that they were learning from US history, but also from US scholars, United States eugenicists. I’m at Yale University, which had one of the major eugenics research institutes in the world, the Institute for Human Relations, and the American Eugenics Society was right here in Yale. All these Yale guys were the leaders, leading intellectuals of the eugenics movement. And they were in contact with Nazi officials. These guys in the American Eugenics Society and at the Institute for Human Relations were writing letters back and forth with Nazis. They were being praised by Nazi officials for the great work that they were doing. It’s very well documented that the Nazis were absolutely drawing on US settler colonialism, US racism, and US Jim Crow. European fascists were drawing on all of these unique versions of oppression that existed in the United States and were trying to craft policies along the same lines.
TFSR: The western expansion, fundamentally, was reflected in the Lebensraum idea that a Nazi Empire had of clearing space for the living room for the people that belonged there. Reflecting again the expansion of settler colonies, the pushing of indigenous people into non-existence, or across borders, or into these reservations, these concentration camps, in a way.
Tariq Khan: Absolutely. Concentration camps long predate the Holocaust. The Spanish colonizers were using concentration camps in the Americas, and later, when the United States was formed, they were also using concentration camps for indigenous groups. They were using concentration camps in their invasion of Cuba. Even the Germans had been using concentration camps in Southwest Africa in the 1880s, 1890s.
In the book, I talk a little bit about Aimé Césaire and his notion of the boomerang effect of imperialism and how Césaire saw fascism. When the colonizing states start doing inwardly, within their own countries those same things they are doing outwardly to colonized populations, to racialized populations, then we call it fascism. But for the colonized, this is what it’s always been, he says.
TFSR: To the other side of that question, if the determination that something is unclean, something is dirt, is because it’s matter out of place, or it’s people who don’t belong in a place, can you talk about the voice who is speaking the word “clean”, of what is in opposition, who is considered to belong in this place, and by what right?
Tariq Khan: Everyone, all the way from the President of the United States, down to your lowest ranking police officers, to your Indian Agents, they’re all using this language of cleansing. You still see it today with police. They say, “We’re going to clean up the streets.” That’s where that idea of cleaning up the streets comes from. We’re getting all the undesirables out of here.
When we look at the history of the police and see how police were rooted and evolved out of slave patrols, frontier lynch mobs, vigilante gangs and things like that, who literally were involved in genocidal campaigns. [When we see them] using the language of, “We’re cleansing the frontier”, or “We’re getting rid of all of these dirty peoples.” That’s where that language that the modern-day police use comes from. It’s all rooted in that history. Even the whole idea of the police as the thin blue line between civilization and savagery, is the settler colonial rhetoric.
TFSR: Can you talk a little more explicitly about what the civilization is that they’re imagining? I know that there are certain esoteric and fringy visions that believe that white people are the lost tribes of Israel, and this is the promised land that goes back to the Bible. The language that the Puritans spoke in some of the earlier colonies talked about “We are building a city on a hill. We are fulfilling God’s dream by being here, and therefore we are written into creation as belonging here and beyond that.” Obviously, there are the Papal bulls that say that these lands are determined to fall under Christendom, to be in the control of civilization and righteous, upright values, I guess.
Tariq Khan: That’s all part of the ideological structure of capitalism and settler colonialism. Some people use the term “colonial racial capitalism”. My story starts around the 1840s. It’s largely [talking about] people who are heavily invested in industrial capitalism, who are the people in power. I talk about people like John Hay. I use as an example this person who had a lot of influential positions for his entire adult life. Starting as one of Abraham Lincoln’s right-hand men, and then years later, serving as Secretary of State. And in between, having really influential positions in US media, being an editor at the New York Tribune, which was the highest-circulation newspaper in the United States at the time. That was the epitome of what the mass media was back then. It was print culture.
He talked about civilization in very clear terms, simply meaning private property. And they used racialized terms for that. So they would use terms like “the white man’s system of private property.” They would use these racist terms like “the red man’s system of communism versus the white man’s system of private property.” They were racializing economic systems. Capitalism was seen as white private property, was seen as a white system. The “white man’s system of agriculture” was one of the terms you see. You would see a lot of language like “the white man’s system of agriculture, the white man’s system of industry.” And that basically meant capitalism. So that’s what civilization was.
Even when we look at some of the attempts to supposedly civilize indigenous groups, you’ve got things like the Dawes Act. The whole notion of the Dawes Act was that we’re going to take land that is held in common by indigenous groups, and we’re going to break it up into private lots, and we’re going to civilize them by assimilating them into the system of private property. They were very clear in the way they talked about what civilization meant. It meant private property, it meant capitalism. And savagery was pretty much anything that threatened the system of private property.
TFSR: Listeners are likely familiar with the term “Red Scare” relating to the period around the early 1950s, also known for the prominence of McCarthyism and the House Un-American Activities Committee. They may even be familiar as good anarchists many of us are with what’s usually referred to as ‘the First Red Scare’ around the period of the Palmer Raids.
I wonder if you could talk about what you point to as an earlier Red Scare, and talk about the interesting overlaps and precedents it provides to the later examples. Just to point out again, if listeners missed when you were talking about the “communism of the red man”, you found an early application of the term “communism” that wasn’t in the popularized or in the Marxist or anarchist usage of it, right?
Tariq Khan: Yeah. This is one of the things I’m arguing in the book. Many indigenous studies scholars have talked about how settler colonialism cuts to the core of what the United States is. And when we take that idea seriously, and we see settler colonialism as this major category of analysis, the periodization changes.
As historians, we have certain ways that we periodize US history, and we break up textbooks in these certain ways. There are some good works on anti-communism; I’m not criticizing these works. I found a lot of these works very useful, but most of them start around post-World War Two period with the Cold War. Some of the better ones will go back to what you called the First Red Scare, the Palmer Raids, and all of that sort of thing. But the time they call the First Red Scare is the time period that’s the end of my story. Because when we’re taking settler colonialism more seriously than anti-communism looks different.
I looked at the Congressional Record, and I was looking for the earliest instances of modern anti-communist rhetoric that we know of. When does that start? And it goes back into the 1840s. As soon as the word ‘communism’ enters the lexicon, “anti-communism” also enters the lexicon. The word “socialism” had been around for a while, at least since the 1820s, maybe a little earlier than that, with a lot of utopian experiments and different kinds of religious versions of socialism. And it was a pretty big umbrella; it meant a lot of different things. In the 1840s, it was the German socialists who started using the word “communism”. Even before Marx, there were a few folks who were [using it]. I think I mentioned August Becker’s book ‘What did the communists want’ that came out in 1844, I think. And, of course, the ‘Communist Manifesto’ hits the streets in 1848, and Marx is giving talks in 1847 using the word ‘communism’.
This stuff is being reported on in US newspapers. So the literate public in the United States would have been familiar with these terms. The labor newspapers covered the activities of socialists and communists in Europe. Even though the labor movement in the US at the time wasn’t really that radical, they were sympathetic to some of the European radicals and reported on them. And so the word ‘communism’ enters the public consciousness in the United States in the late 1840s. And immediately, congressmen, especially the pro-slavery congressmen, are starting to use anti-communist rhetoric to make pro-slavery arguments.
In 1848, the United States stole over 500,000 square miles of land from indigenous groups. We say it was from Mexico, but it was actually not even Mexican land. Nominally, it was Mexican land, but in reality, those were indigenous territories that did not belong to the United States or Mexico. The United States takes all of that land, and now they have all of this land that is populated by different indigenous groups who are not citizens of the United States. And all of these questions about what they call “the Indian problem” arise. But also problems about what to do with all this new territory? Is this going to be free states or slave states?
The pro-slavery people were really pushing the fear of communism. I mentioned in the book one example from the Congressional Record where this congressman is using what almost sounds like Marxist language, but he’s twisting Marxist language to make a pro-slavery argument. Marx was giving talks as early as 1847 using language like…
TFSR: Wage slavery…
Tariq Khan: Right, wage slavery, but also that the interests of the proletariat and the bourgeoisie are diametrically opposed, the interests of capital and labor are diametrically opposed. And this southern congressman, who would later become one of the leaders in the Confederacy, says, “Look at these northern cities where they have the wage system. You have all of this conflict between capital and labor.” And he says, “that’s because they have the wage system, and so then that’s going to become fertile ground for communism to grow.” And he says, “Here in the South, we don’t have conflicts between capital and labor, because enslavers own both. And so we have harmony between capital and labor. So the best way to protect the United States from communism spreading is to let these new territories be slave states.” You’re getting arguments using communism as the thing that slavery will protect us from.
That’s 1848, and then you also have US Indian agents who are using this kind of anti-communist rhetoric in the North. You can also find it in the Congressional Record, in their reports to Congress. They were supposed to be getting the Dakota Sioux people under control, and they’re having a really hard time doing that; they’re not able to. So they’re reporting back to Congress saying, “It’s impossible to civilize them because of their system of communism.” That is the first instance I see of the term “system of communism” in the Congressional Record. And they’re talking about the Dakota Sioux. They’re not talking about European Socialists or anything like that. Essentially, the argument is that they have too much freedom, too much democracy. They share resources, and they share power. And these Indian agents translated that as a system of communism.
There is a tactic that they would often use, that colonizers have used all over the world as long as colonialism has existed. You try to hand pick someone from the colonized population who you think is a leader, you manipulate them and maybe shower favors on them, give them privilege in certain ways, and then you use that leader to control the rest of the group. They were complaining that they’re trying to do that with the chiefs, and it’s impossible, because the chiefs don’t have power. Many white settlers had this false idea that Indian chiefs were like dictators, had absolute power, and whatever they said went. And they were finding that the system was actually far more democratic. They would say, “We call the chiefs to meetings, and they bring all of these Braves with them, who make sure that the chief doesn’t make any agreement that goes against the wishes of the people.” It’s basically an argument of “they have too much democracy, our tactics aren’t working, and it’s because they’re communists.” Essentially, they’re saying they can never be civilized because of their system of communism.
If you can’t be civilized, then what’s the solution? The solution for settlers, for colonizers, is extermination. Which is exactly what they do. Another thing I talk about in the book is that anti-communist language almost always accompanies violence. It’s not just rhetoric. And so you had a genocidal campaign against the Dakota Sioux conducted by the formal forces of the state, but also by just regular white farmers. Little Crow was murdered by a farmer and his son, who found him when he was gardening, and they just straight murdered him and scalped him. And then the father got paid $500 from the state, and his son got paid $50 for the scalp, which was a lot of money back then. That kind of language of civilization versus savagery and anti-communism accompanies exterminationist policies in the real world.
TFSR: I thought it was interesting also how you had pointed to the way that the anti-indigenous rhetoric swung back in public imagination towards anti-communism. Like the portrayals following the Haymarket Affair in Chicago. The stories that were being told, the books that were being written, and historical reviews by the historians of the Chicago police departments, historians of what policing around the era of these massive strikes was like, were referring to it constantly as the Wild West. Not only calling communists, anarchists, or socialists “red” by the color of their flag, but also basically calling them “indigenous and red” in that racialized way. To say this war for Civilization includes the extermination or the control, or the civilizing of these dangerous proletarians, often foreign-born, who are undermining our possibility of civilization. Here, we’re basically the same as those fighting in the western territories to help settler expansion.
Tariq Khan: Absolutely. It’s pervasive in the police literature. We have to remember that at this time in history, in the 1870s, 1880s, 1890s, the police were a relatively new institution. A lot of the population didn’t respect the police, and they didn’t see them as legitimate. They saw them in many ways the way that many people nowadays see ICE. ICE is a pretty new agency, and when they’re sending ICE thugs into cities, they are facing all kinds of resistance. People don’t see these ICE guys as legitimate authority. That’s how these first police departments were in the 19th century. They were constantly fighting the battle for legitimacy and fighting this public relations battle.
Because settler colonialism is so core to US culture and politics, the police in the United States very explicitly liked to cast themselves as the Hardy white men of the dime novels. The Hardy white men taming the Wild West. The police put themselves into that same narrative as a way of making them seem more legitimate. History of the Chicago Police, a book written in the late 1880s and put out by the Chicago Police Department itself straight up uses that language. It says, “The first police in Chicago were the men of Fort Dearborn, who were fighting the Indians. Now we’re fighting the anarchists. Nowadays, the anarchists are our Indians.” They use that kind of language. They quite correctly, actually, pointed out that the origins of the Chicago Police were genocidal frontier Indian killers.
Fort Dearborn was established in 1802 or 1803 for the express purpose of exterminating – that’s the language they used – exterminating indigenous groups from the region to make it safe for white settler colonization. That’s the origins of Chicago. And the police point to that as the origin of the police. Captain Shack, in his very influential book on anarchists, was also very explicit. He would say, “Like a drunken Comanche about to attack the home of a helpless settler, the anarchists surrounded the police station.” He used that kind of language. And then he would say, “the Chicago reds.” He would use this term ‘reds’ and at certain points it wasn’t clear which “reds” he was talking about, because he was going back and forth between indigenous references and anarchist references, using the term “reds” for both. At some points, you don’t know which “reds” he’s talking about.
TFSR: Throughout the book, you repeat the point that the anti-black and anti-indigenous violence that has been wielded by the state and powerful classes since the foundation of the British colonies, and depending on where you are, I guess also the Spanish or the French, has in many cases different motivations and limits than the violence imposed on political radicals. Though sometimes it’s overlapping motivations and language. Can you talk about the importance of distinguishing differences between class hatred and race hatred and race construction in US History?
Tariq Khan: The line between these categories, race and class, is not a hard line. Certainly not in US history, because class has often been a racialized category. I mentioned Walter Rodney in the book. Walter Rodney talked about this in the case of Guyana. Talking about “how do we construct race?” He’s making a Marxist argument that the mode of production of a society conditions how a society constructs race. So race and class are always sort of co-constitutive and connected. Fanon also talks about race and class as co-constitutive categories.
Walter Rodney gave one example of the racial system in Guyana, where you had black landowners who exploited Black workers. You had Indian landowners who exploited Indian workers. You had white land owners who exploited many different racialized groups of workers. But when the British brought in Portuguese from the Azores, landless peasants, who came into the society as bonded laborers, Walter Rodney talks about how the Portuguese were considered a separate race from whites. And he says they were considered a separate race from white because they came into society in the position of subordinated labor. This marked them off as a separate race, because whites were the landowners, and these were not landowners, so they couldn’t be white in that case.
In the United States, we had a similar phenomenon with different groups. There was a point at which Irish people were considered something other than white. There was a process, Noel Ignatiev, in his classic book How the Irish Became White, saw a similar thing with Italians, who came into the society as subordinated labor and were considered something other than whites. The process of becoming white was also a process of upward class mobility. I don’t really conceptualize a very hard line between class and race. We always have to talk about these things as co-constitutive categories that condition, produce, and reproduce each other.
But I do say this at a few points in the book, because I don’t want to be misunderstood. I’m definitely not arguing that anarchists became the new Indians or something like that: anti-indigeneity never ceased, even in the present day. Settler colonialism still exists. Anti-indigenous policies and attitudes still persist. It wasn’t like anti-communism or anti-anarchism replaced anti-indigeneity. But what I’m saying is that because anti-indigeneity and settler colonialism are so foundational to US culture and politics, that then conditioned the form that anti-communism would take.
How did the state learn how to do things like crowd control or how to suppress an uprising? They learned that through their anti-indigenous violence. So the anti-indigenous violence became the template for how you can deal with these multiracial crowds of what the police called “whooping anarchists” in cities like Chicago.
TFSR: Also, the lineage of the police coming out of slave patrols, or the control of Black enslaved populations in many parts of the country.
Tariq Khan: Even in terms of who you are allowed to use the types of violence that they used against labor strikes were the same tactics and even the same weapons? And in some cases, the very same units, military units that they were using in the so-called Indian Wars.
I have a chapter on the 1877 railroad uprisings because I see 1877 as a really significant year for a few reasons. They’re pulling units who are involved in indigenous extermination away from what they call the frontier, back into cities like Chicago and Pittsburgh and other places where the railroad uprising is going on. Those same units that had just been attacking indigenous groups are now using their same weapons, their same artillery rounds, their same rifles, their gatling guns (I write a lot about the gatling gun), they’re using the weapons of colonial control within US cities to put down the railroad uprising.
The property owners, the railroad guys, and the people who are allied with them, the big industrialists, are talking about the railroad war the same way they’re talking about what they call the Indian Wars, using the same language. You open the page in the New York Tribune, there’s one article, one column that says “The Indian Wars”, and right next to it is a column that says “The Railroad Wars”. They’re right side by side, and they’re talking about these things as if they’re part of the same thing.
TFSR: Considering the current political climate under the second Trump administration, which has declared war on what they call the radical left, we’re in an interesting position to examine some of the history that you cover in this book and its echoes and emulations today. I’m not a fan of tight historical comparisons, which tend to flatten and shove square pegs into round holes to make a point. But the current administration has telegraphed some of their visions, and I was hoping that maybe we could speak about the current administration’s declaration of war on the radical left and Antifa as internal enemy, and lessons that we can take from history to apply to this current day.
Tariq Khan: I was writing this book during Trump’s first term in office, and I felt that so much of the history that I was writing about was playing out in real time, with a lot of the stuff that was going on. I actually included a lot of that stuff in earlier drafts of the book, and I had to cut most of it out just for length. They [the publishers] didn’t want the book to seem too dated to that one period of time, but I definitely see this book as extremely relevant to a lot of the stuff we’re seeing the Trump administration do. And relevant even to a lot of stuff that was going on under Biden as well. This isn’t just a Republicans versus Democrats thing.
Trump absolutely draws on these myths, the settler colonial mythology. He’s put up the picture of Andrew Jackson in the White House. I remember him standing in front of the picture of Andrew Jackson, announcing his crackdowns on immigration, the children in cages, family separation policies, and things like that. He’s giving those speeches with a picture of Andrew Jackson right behind him, definitely seeing himself as a kind of Andrew Jackson’s reincarnation, as many white supremacists in the United States. Andrew Jackson is a hero to them, as one of the architects of the Trail of Tears, a violent slaver and racist.
When Trump talks about the left, he uses a lot of the same language that the people I talk about in my book use, that language of pathologization, of civilization and savagery. You find the Trump administration using a lot of that exact same kind of language that Theodore Roosevelt was using. Trump is talking in those same kinds of terms and pushing similar kinds of exterminationist policies.
TFSR: Also, with the example of troops being called into Portland, Oregon currently, because it’s “a dirty and war-torn city.” While we’re having this conversation in numerous cities around the country, like Memphis, notably in Chicago, there’s been a lot of coverage of military raids onto apartment buildings and the detention, arrest, killing in a few cases of folks who are suspected of not having documentation or being immigrants or overstaying visas or just applying for citizenship. That language is still being employed in a very similar way to what you document in the book, in terms of justifying the sort of violence that was being brought against indigenous communities throughout the majority of US history.
Tariq Khan: Sure. Essentially, what we’re seeing is a straight-up military invasion of US cities ordered by the President of the United States. Many people think that this is a new thing, but it’s not a new thing. In the time period I’m writing about in my book, they were doing similar things, sending troops into cities to “restore order”, and essentially carrying out campaigns of ethnic cleansing. And that’s what I see ICE is doing now.
ICE is a force of ethnic cleansing. They’re grabbing people who have green cards, people who are here legally, just based on what they look like. We’ve had people who are documented put into immigration detention. They’re not even going after just undocumented people. They’re going after people who look a certain way. People who have citizenship, and people who are military veterans have been scooped up by ICE. ICE is doing this ham-fisted repression, very similar to what we saw troops doing in cities in 1877 and in the 1880s and in the early 20th century. You see similar things to what we’re seeing now in many cases that I write about.
It is crucial to recognize how important it is for people who are trying to fight this kind of repression to be in solidarity with the anti-colonial struggle. When we’re not in solidarity with anti-colonial struggle and don’t recognize the connections of what we’re seeing to the larger picture of empire and settler colonialism, we end up in a weaker position. A really solid example of this is Trump’s attacks on universities. Those attacks started while Biden was president of the United States, and it was the attacks on the pro-Palestine student movement. The good and liberal centrists were calling on the state to crack down on these universities, Democrats were part of that crackdown on universities. So when Trump came in, he was so much better positioned to attack universities, because the Democrats who were not in solidarity with Palestine’s anti-colonial struggle had already put the universities into a weakened position. And everyone was in a much weaker position to fight back.
I think that’s one of the lessons of the book: we have to look at the bigger picture of colonialism and imperialism, and whatever our movements are, whether we’re talking about the labor movement, or something else, we have to be in solidarity with anti-colonial struggle and anti-racist struggle.
TFSR: Absolutely and very well said. This is pivoting a little bit, but much of the violence that you describe in the book, often in brutal detail, is presented as having a few levels of meaning and purpose, including the eradication [of] or harm against the target. But also the reassertion of identity among the perpetrators, an internal disciplining. Can you talk a bit about this role in lynching, and additionally, the relationship between vigilantism and the legal application of force in the implementation of so-called US civilization?
Tariq Khan: One of the arguments of the book I’m making is that the right-wing mob, or the vigilante mob, whatever you want to call it, is the cutting edge of official US policy. I have a lot of examples. What the state eventually institutionalizes is actually what the white supremacist mobs are doing on an extralegal level. So much of the genocide against indigenous groups was not carried out by the official forces of the state. It was carried out by armed settlers. And the leaders back then understood that.
Theodore Roosevelt absolutely understood that. Back in the 1880s, before he was president, Theodore Roosevelt wrote volumes of books on US history. He was somewhat of a historian himself, though his books are saturated with racism. He was a hyper-racial thinker, obsessed with racial difference and racial categories. Theodore Roosevelt talks about the colonization of the US South, and he talks about how “it’s the armed settler who announces the permanent dominion of the white man.” That’s the term he used –‘the permanent dominion of the white man.” Because, he argues, you can send the army in, and they can win some battles, but then they leave. How do you actually hold the land and say this is the United States? You have to have armed settlers who live on that land, and that’s when you have the permanent dominion of the white man.
Roxanne Dunbar Ortiz, in her book Loaded: A Disarming History of the Second Amendment, has written about how the Second Amendment was actually based on a lot of already existing policies and practices, some official, some unofficial, of white settlers who needed to be armed vis-à-vis indigenous resistance to colonialism and black resistance to slavery. That’s actually the basis for what would later become institutionalized as the Second Amendment. White mobs play a big role in this book, in a lot of the violence that I’m writing about. They play a big role in antiBlack violence and the maintenance of the system of slavery, anti-indigenous violence, settler colonialism, and all that. But later, white mobs are also going to play a major role in industrial control and keeping these migrants, working-class people in line: to keep them producing, keep them making profits for the capitalist class. They’re the ones who oftentimes go in to break up strikes. It’s oftentimes not the formal police, but the mobs of white men.
I write about groups like the American Legion, which are basically lynch mobs. A lot of what these white mobs do then gets institutionalized by what the police do, or actually the formation of the FBI and things like that. A lot of what the FBI took on was what white mobs were already doing. These things get written into law. I talk about the Congressional Record and how they’re reading off all of these white men’s fraternal organizations who want the state to make laws to crack down harder on the anarchists. But those groups that they’re reading off were the members of the lynch mobs. I say that the lynch mob is the cutting edge of US policy. If you want to see the direction US policy is going, look at what the white mobs are doing.
A modern-day example is the January 6 attack on the Capitol. That mob that broke the law and tried to overthrow an election, they are getting everything they wanted now through the state. They’ve all been pardoned, and now they’re getting all the policies they want through the state. What that mob was trying to do extralegally is now being institutionalized by the Trump administration. I have examples of that throughout the book: the white mob does it, and then the state institutionalizes it. But there’s a very blurry line between vigilante violence and state violence. I actually argue that the vigilante violence is state violence.
That’s not an original argument. A lot of scholars in the Black Radical Tradition have argued that since the 19th century, in the early 20th century. One of the people I cite is the great Black radical sociologist, Oliver Cromwell Cox, who studied lynching and racial violence. When he talked about the lynch mob, he used the phrase, “the whip hand of the ruling class.” Some of the early studies on lynchings found that it wasn’t the so-called alienated backwoods rednecks that were doing the lynching. The most enfranchised members of society were the leaders of these lynch mobs. They were property owners, the real estate men, bank owners. Sometimes, you’d have the sheriff and members of law enforcement as members of these mobs. The most enfranchised people in society were forming these lynch mobs. They weren’t seen as criminals. A lot of the conservative newspapers praised the lynch mobs as the heroic white men who are saving civilization because the state’s too weak to do it right now, so they have to stand up and do it themselves, kind of a thing.
TFSR: That actually started getting to the respectable mob portion of it. There’s the way that mob violence does the work of Power already, because it’s constituted of elements of the powerful classes. But one element that I think you touched on, and I found pretty interesting as someone who, as a white person, is very fascinated by the construction of whiteness and the reconstruction of whiteness – this was not exactly the point of the book – but the reconstruction of the boundaries of who is in the in crowd, who’s in the out crowd…
Tariq Khan: You’re talking about how the mob isn’t simply about enforcing the group that the mob is going after, but it’s also about enforcing a kind of conformity to white supremacy amongst the white or amongst the dominant population. Yeah, you definitely see that. What some of the early lynching studies showed was that lynchings happened most in places where there was what the sociologist Kai Erickson called “a boundary crisis.” The boundary crisis essentially was where white racial solidarity, which was whiteness as a cross-class alliance, started to break down, because workers were creating greater class solidarity from below. That was the boundary crisis. Those are the places where you started to see the most lynching.
Lynchings were about keeping Black people in a position of subordination. But they were also about getting all of those white people who were replacing their white racial solidarity with class solidarity to see themselves, first and foremost, as white men and as white people and to reestablish that alliance. This is one of the reasons why lynchings were these big public spectacles. They would sell postcards after lynchings; people would bring picnics and watch. But it was a festival of white solidarity. There really was a carnivalesque atmosphere at these lynchings. And that’s what it was about.
I showed some examples. I have a chapter on one example from San Diego in 1912. Hundreds of Wobblies [IWW members] were subjected to the lynch mobs. Some of them were disappeared. Lots of them were tortured sexually, sexually assaulted, men sexually assaulting other men. Talking about sexual assault as a tactic of colonial control and of end of capitalist control. But in the mob, there were some people who were supporters, and the mob would beat those people down. Emma Goldman came to speak at one point, and the mob showed up to stop her. There were people who were there to cheer her on, and the mob basically whipped them into shape. Those were white people, and you were not supposed to be acting like that as a white person.
Sometimes it was as much as just enforcing the patriotism. Someone didn’t have the American flag pinned on their lapel or something, and members of the mob would beat them up, enforcing that patriotism on the mob itself. The lynch mob is as much about enforcing conformity of the white population or the dominant population as it is about keeping subordinated groups down.
TFSR: In chapter four, you discuss the examples of class-based paramilitarism through the life of John Hay of the Black Horse Troop, and also talk about the likes of Lehr und Wehr Verein workers’ militia in Illinois during the period that’s referred to as The Nadir. Can you talk about this phenomenon of class-based paramilitarism in that period, and what lessons could be gleaned from their successes or failures or repression?
Tariq Khan: The workers in places like Chicago were subject to so much violence. Sometimes it’s hard to exaggerate how violent US history is. When workers would get together, go on strike, form a union; they would always be met with just brutal violence. Sometimes by the police, sometimes from private agencies like the Pinkertons or strike-busting agencies, sometimes just by vigilante gangs. They were under constant threat. There absolutely were instances in which workers were lynched, were murdered, and so in self-defense, they started to form their own militias.
We think of the militia movement nowadays as a right-wing phenomenon, but there was a time when the militia movement was a radical left thing. It was a lot of the socialists, the anarchists, the labor union guys. Chicago had a few different socialist and anarchist militias, the Haymarket martyrs were involved with these militias. They would go out on their one day off from work, on Sunday or whatever, practice drill, and learn how to use different weapons and things like this. And the idea was, “we are training for when we go on strike, we have to be able to defend ourselves, because they’re going to attack us. And they’re going to attack us with lethal force, as they have been doing, so we need to be able to respond with lethal force. Otherwise, we’re not going to be able to make any gains.”
And that’s when you actually got some of the first gun control laws. The conservatives were crafting the gun control laws because they wanted to disarm all these armed leftists. You saw a similar thing later on with the Black Panther Party when people like [Governor] Ronald Reagan in California were pushing gun control laws because they wanted to disarm the Black Panther Party. The Second Amendment has never been for people like that. The Second Amendment has been a thing for the dominant group that is aligned with the US settler colonial state. That’s who it’s for: white conservative men. And when other groups have started to arm themselves, you find conservatives, these strong NRA-loving conservatives, pushing for gun control. I don’t know if it was the first, but definitely one of the first marches for the Second Amendment was the anarchists and socialist workers in Chicago, who organized this armed march in response to a law that was outlawing their guns. The leader got arrested, but I mean, it was about self-defense: they were facing very real violence.
I talk about 1877 as a turning point for both the ruling class and the working class. One of the turning points for the working class was that they saw the state was willing to just come in and mow down workers with gatling guns. Those were the kinds of things that they were doing, firing artillery rounds at groups of workers, indiscriminately firing into crowds of people. After 1877 lot of people in the labor movement who had been moderate voices [got radicalized], including Albert Parsons.
Albert Parsons, the Haymarket martyr, had been involved in Republican politics prior to that, and then he joined the Working Men’s Party. During the 1877 strike, he was even giving speeches to workers, telling them not to strike, but to vote for the Working Men’s Party, so they can get into office, and ‘can make good laws that’ll give us a better deal.’ That was the kind of language he was using, innate. But witnessing the absolute brutality and cruelty of the state changed him, and he started going down a more radical path. A lot of working-class people actually started to turn more towards socialism and anarchism, because they saw the lengths that the state was willing to go to keep the workers in the position that they were in.
TFSR: Near the end of the book, you nail home a criticism of the study of European fascism to understand US reactionary movements. As stated by the National Commander of the American Legion, Alvin Owsley “The Fascisti is to Italy as the Legion is to America.” This militarist group advocated and continues to advocate an ideology that they call “Americanism,” one espoused by Teddy Roosevelt, who was the father of one of the founders of the Legion and a hero of the current president. Can you talk about this concept of Americanism and its variations during the period that you cover in The Republic Shall Be Kept Clean and how studying this may give a clearer view than Italian-style fascism or Nazism in Germany, in the framing of past and current authoritarianism in this country?
Tariq Khan: One of my problems with constant references to the European fascists is that it’s a way of denying US history. When we look at what ICE is doing in an alarm, and say “This is like the Gestapo”, essentially, we’re saying this is not American. This is something that they do overseas. People will even use these phrases; a lot of very well-meaning liberals, even people whom I respect, will say, “This isn’t normal. This isn’t what America is about.” And I want to say: “No, this is exactly what the United States has been about. This is rooted in US traditions. It’s not rooted in German Nazi traditions. It’s rooted in US American traditions that grew out of the systems of slavery, settler colonialism, and capitalism. And if we really want to fight this, we have to understand what its roots actually are.” If we’re trying to foreignize it, then we’re denying the reality. And then the solution becomes, “let’s just get back to normal.” Well, “back to normal” is intolerable oppression for a lot of people.
TFSR: In many ways, it’s falling into the same use of language as “this is unclean.” This is not natural to be here. It’s like the implementation of how the term “Antifa” is being used. It’s referencing this foreign-born ideology that is pronounced differently from everything else here. It’s not the natural, healthy way to do things, right?
Tariq Khan: Yeah. We had fascist parties; we had a Nazi Party in the United States before World War Two. We had Nazi rallies, we had a major Nazi rally in Chicago, and one that you could probably find on YouTube, a huge Nazi rally at Madison Square Garden in New York City. But those Nazis, even those people who called themselves Nazis, were very much drawing on US American traditions. They didn’t call it a Nazi rally. They called it a “Pro-America rally”. They had big pictures of George Washington and a US flag. And they were very clear that they were drawing on the US’s own colonial history, even in how they envisioned their own Nazism.
In one of my classes that I teach, the other day, I was playing some of Woody Guthrie’s antifascist songs. If you listen to the lyrics of some of his antifascist songs, “All You Fascists Bound To Lose.” He talks about Jim Crow and the poll tax as fascism. He’s not just talking about what’s going on in Europe. He’s looking at US Jim Crow racism as fascism, quite correctly. In his other song, ‘”Tear The Fascist Down”, he uses Civil War language when he’s talking about the fight against fascism. He says, “Our union is going to break them slavery chains.” He was putting it in the American context, the Union versus the Confederacy. Somebody like Woody Guthrie looked at the fascists in Europe and said, “These guys are a lot like these American Jim Crow southerners whom we run into.”
But it’s important to remember that this stuff grows out of US American traditions, so what does it mean to get at the root of that? It’s going to require something different than just voting for Democrats and getting back to normal. It’s going to require much more radical, fundamental kinds of changes. It’s going to require us to take seriously indigenous calls for things like repatriation and Land Back and decolonization and all of those reparations. All those words that many social movement folks think are over the top, and are just going to sidetrack us. That’s actually central to the kind of change that we need.
TFSR: I see the story motivating much of the settler state and vigilante violence through the period that you describe, until today, as shifting back and forth between a tale of the white man’s burden to a fear of great replacement. The prime mover against order, shifting between masses of vicious barbarians with agency, like some sort of natural force that needs to be beaten back, and shifting over to a cabal of outside agitators with ill intent. Could you talk about this story of the dangerous Other? What does it say about those who feel it, and what lessons can be taken and struggle against the motivation?
Tariq Khan: A lot of those things happen right at the same time with white supremacy and the intertwined systems of capitalism, white supremacy, settler colonialism, and empire. All of this stuff is riddled with contradictions. If you’re looking for a logic to it, the only logic is the power of the dominant group. And they’re going to use any arguments that are there; they’ll even use contradictory arguments in the same breath. And so they’ll say “We’re civilizing these savages” and “These savages are going to replace us. We have to eliminate them.” They’ll talk about both things together without even giving it a second thought. They’ll grab at whatever justifications they think are going to be useful in the moment that they’re in. That’s something that’s central to whether you’re looking at European fascism or the US versions of that in terms of the US’s own forms of oppression. You’re gonna find it just riddled with all these kinds of contradictions.
TFSR: I guess I was trying to get at this vision that you described throughout a lot of the book. It almost has the mass, the mob as the threat that is weaponized by white supremacy. It’s about conquest. You talk about some of the ideas of the outside agitator coming in, and then throughout the 20th century, see more and more of this through the Civil Rights Movement and reactions to it, or during reactions to Reconstruction. You’ve got this idea that, “Well, the masses aren’t actually smart enough to organize themselves.” So it takes a communist, and usually that’s Jew-coded. It’s usually an antisemitic trope. But in either case, there’s this fear of Great Replacement. There’s this reflective fear of what our culture has been doing, the subject that has this fear is afraid of happening back to them. All those fears of Black folks. But at the same time, sexual violence has been imposed through chattel slavery and then onwards on the Black community… You see what I’m saying, right?
Tariq Khan: I mean, this is classic projection, like in psychology, where they are basically projecting their own evil on whatever group that they’re calling the enemy. You saw a lot of this during the Haitian Revolution. Enslavers in the United States were terrified of uprisings, and the fear was, “they’re going to do to us what we’ve done to them.” Fears of indigenous groups that we’ve been exterminating, that they’re going to exterminate us. Because they can’t imagine that anybody exists outside of their own logics. And so they project their ways of thinking onto people who don’t think that way. It’s very irrational fears, but it’s powerful and sort of mobilizing white violence, because many people believe that kind of stuff. They believe all these immigrants are gonna take us over, and then they’re gonna treat us the way that we’ve been treating them.
TFSR: The antisemitism doesn’t seem to play really strongly into it until the early 20th century, and that’s after the Protocols [of the Learned Elders of Zion] were published by the Russian Tsarist police. And it seemed like the focus on who the target was, who was the active agent that needed to be undermined, the story came about, “Well, black folks would be fine on their own, if not for being all stirred up by this communist stuff that’s happening.”
Tariq Khan: Absolutely, there’s that outside agitator narrative, and that goes back to slavery. If everybody you’re enslaving is rising up in rebellion, how do you explain it? If you’re trying to say that slavery is this harmonious and good system, it’s good for black people, it’s the natural order. You even had scientific explanations of how the white man is designed, scientifically evolved to lead, and then Black people are scientifically evolved to be servants and all that sort of thing. And yet, they’re rising up in rebellion. You can’t admit the obvious explanation that something is wrong with your system and that you’re mistreating people. So you have to come up with something else. The outside agitator narrative became very useful as an explanation for slave rebellions and things like that. I even saw that sometimes used for indigenous rebellion. At one point, they were saying that Mormons were stirring up indigenous groups to rise up against the United States. Obviously [it was] not true, but that was one of the narratives that was coming out in the 19th century.
And then with industrial capitalism, you have these huge workforces of wage laborers, migrant laborers, and people like this, and they want to form unions; it’s a similar thing. If your business is so good for people and your system is so good for everyone, then why do they want to rebel against it all? It’s these outside agitators. John Hay talked about it: “All these anarchists came in and filled their heads with ideas.” And it oftentimes was racialized. I talked about one congressman who says, “We don’t have any anarchists. We only have good Anglo-Saxons in my state,” where they’re posing Anglo-Saxon as a racial category against anarchists.
The antisemitism was absolutely pervasive. When you look at some of these mass deportations, how many of the people who were deported were Jewish anarchists, Jewish socialists? And there really were a lot of working-class Jewish radicals who were at some points in time the backbone of the labor movement in certain cities. Stirring up antisemitism was a way for bosses to stir people up against those unions. William Vale, author of the quote that I used for the book title The Republic Shall Be Kept Clean, was talking about all of these Jewish radicals who he was deporting, who were being shipped off to Russia, and calling them a cancer that’s being cut out of the body politic and how we’re cleaning the Republic by getting rid of all these Jewish radicals. They used terms like “Christian civilization” as much as they used terms like “the white man’s civilization”. “Christian” was another term that they used interchangeably with. The radicals also railed against Christian civilization. Lucy Parsons or Emma Goldman often used the term “Christian civilization” in a very derisive kind of way.
But that outside agitator narrative is pervasive, and we still see it today. We saw it in the uprisings in Minneapolis in 2020, they would say, “These aren’t people from Minneapolis. These are outside anarchists coming in.” And then you look, and actually a lot of those people are from the very neighborhood that the uprisings are going on in. And yeah, there are other people who come in in solidarity. But it’s an old trick that goes back to slavery, that whole outside agitator thing.
TFSR: Closing up, the right has been attacking re-envisioning of history for a very long time. In the book, you quote Woodrow Wilson saying that Reconstruction Era teachers who were offering newly legalized educational opportunities to the formerly enslaved had some pretty negative things to say about them, about undermining the natural order of things. Obviously, more recently you’ve got the Critical Race Theory terminology being thrown around, the right-wing presence at local school boards over the last five years. I wonder if you could talk about the importance of education, the role of it in change that you see and that you’re happy to participate in, and why you think that the right finds it so despicable and wants to attack it so virulently?
Tariq Khan: The right-wing ideology requires a certain version of history to be true. But that version of history is NOT true. Those of us who are educators are saying, “Let’s look at what the historical record actually says. Not just something that makes you feel warm and fuzzy and patriotic.” They hate it, and this isn’t a new thing. You mentioned the Woodrow Wilson example. Woodrow Wilson, a notorious white supremacist from the South, was a historian. He actually was a history professor at Princeton before he was in politics, and he wrote volumes of books on US history, similar to Theodore Roosevelt. His books are just dripping in unexamined white supremacist premises.
[He wrote a] book where he’s talking about Reconstruction, and by the way, this is the same book that the Ku Klux Klan film, “Birth of a Nation” [takes its inner title from]. Wilson had a screening of that movie in the White House. It is the first motion picture in history that glorifies the Ku Klux Klan and pushes these notions of the hyper-sexual, violent black man who wants to destroy pure white womanhood, and so the white man has to rise up and basically become a lynch mob to save pure white womanhood and save civilization. The Ku Klux Klan is the protagonist of this film, and Woodrow Wilson loves this film, but the inner titles of the film in the beginning are a quote from Wilson, from the same book that he wrote, where, essentially, he’s defending white supremacist vigilantes.
The white supremacists formed all of these terrorist groups as a reaction to the progress of Reconstruction. That’s literally what they were, they were terrorist groups, like the Klan. There was a bunch of other ones, the Knights of the White Camelia, the Pale Faces. They had a bunch of different names, and essentially, they just carried out campaigns of terror to reestablish white supremacy against the progress of Reconstruction. Woodrow Wilson is defending these terrorists, describing them as misunderstood white men who are the real saviors of the South.
These groups didn’t just attack Black people; they also attacked white people who were seen as in league with Black people. They attacked teachers, especially. They hated all of these teachers who were teaching about racial equality and history that made these racist white people’s ancestors not look good. They interpreted this as, “teaching students to hate white people,” because, they were teaching people to hate Black people, and so they couldn’t fathom that other people don’t exist within that logic. They saw everyone as having the same motivations they did. They would specifically target teachers, in some cases, they straight-up lynched teachers. And Woodrow Wilson was defending this as necessary.
These are basically atrocities committed against teachers, and this modern-day stuff that we’re seeing, [attacks] against Critical Race Theory and DEI [Diversity, Equity, and Inclusion], all of that stuff, that’s [done by] the people who are the ideological descendants of those white supremacist vigilantes who attacked teachers. They have the same worldview. They’re motivated by the same kinds of ideological commitments. It’s important that educational institutions really need to stand up to this. If they tell us, “Hey, you need to cut everything that has to do with race or gender.” Institutions should say, “You know what? We’re going to bolster everything. We’re going to have more classes on race and gender. We’re going to fund those departments more than we fund them now. We’re going to strengthen them.” That’s the way to react. When the administration comes in and says, “Hey, you’ve got to cut all this stuff, or we’re coming after you,” say, “You know what, we’re going to increase all this stuff. And anytime you come at us, we’re going to increase it more.”
We need to have a backbone and stand up to these thugs. They’re really just trying to stomp all over education because they know that they are losing the youth. At Yale we had a poll of incoming Yale students, and the vast majority considered themselves politically on the left, a huge chunk considered themselves radical left, and only a very small minority considered themselves conservatives. They know they’re losing the youth, and that’s part of this crackdown. They want universities and high schools to be right-wing indoctrination centers, and in some cases, they are turning them into just that. A lot of schools are folding under the pressure, including Yale, in some ways. But we really need to just have a backbone and be like, “No, you know what? We’re gonna teach more of this. If you’re coming at this this hard, it must be pretty important. Let’s talk about race and class and gender and empire and colonialism, even more than we do now.”
TFSR: I appreciate you saying that. Dr Khan, is there anything that I didn’t ask about that you want to mention while we’re on this call?
Tariq Khan: Nothing really comes to mind.
TFSR: Do you have any new works coming out?
Tariq Khan: I’m working on something now, dealing with psychology and counter-insurgency, but it’s way off.
TFSR: That’s exciting, though, and I’m excited to check it out at some point. Thank you so much for this conversation. I really appreciate the book, and I appreciate you taking the time for this and the work that you’re doing.
This week we’re sharing an interview with Tomas Rothaus, author of the recently publish memoir, Another War Is Possible: Militant Anarchist Experiences in the Antiglobalization Era, out this year from PM Press. We speak about the anti-globalization movement and how it’s remembered, debates around mass mobilizations and Black Bloc street conflicts, mentorship and intergenerationality in anarchism and the importance of a sober audacity in political struggle. Tomas has three more, related books scheduled to come out in the next 2 years listed at PM Press’s website. We hope you enjoy.
We’d like to share a quick announcement that anarchist prisoner, Casey Goonan, initiated on August 29th a hunger strike in solidarity with the hunger stirke of T. Hoxha, a prisoner held by the UK of the Filton24, and the demand for her movement to a hospital due to malnutrition and medical neglect at HMP Peterborough. You can find the text of a letter describing the conditions and who to email below.
The Filton24 are a group of 24 individuals being lumped by the British state for a direct action to dismantle weapons at an Elbit Systems facility in August of 2024. You can learn more about the case at https://freethefilton23.com/meet-the-filton24/ . For some context, you can check out a recent interview by 12 Rules For What podcast on the impacts of proscription by the British government against Palestine Action.
To whom it should concern,
An immediate transfer of care for T Hoxha to a hospital in Northampton Healthcare Trust must be actioned. It is now day 18 of her hunger strike and medical neglect by your prison has since resulted in fever, persistent headache on the left side of her head, vomiting after taking vitamins, continued jaw pain, shedding hair and skin discoloration. Her condition is now considered in the “danger zone” by an advance nurse practitioner.
That an advanced nurse practitioner was not made aware of her case until Day 17 is incredibly improper practise for the treatment of prisoners on hunger strike, failing to begin a food refusal log until Day 5 of the hunger strike and failing to appropriately maintain this since as well as, the failure to provide consistent regular medical attention, providing electrolyte sachets and monitoring have proved HMP Peterborough to be incapable of fulfilling their duty of care to prisoners in their custody.
T has simply demanded her rights to fair treatment as an unconvicted prisoner of conscience. We are aware of the methods by which her rights are being removed by your prison as means of intimidation and isolation.
Another Sodexo prison, HMP Bronzefield, is currently in the media and public discourse due to two deaths, an assault and forced excessive lock up of prisoners last month. Given this, I am certain that HMP Peterborough will be soon also be investigated for direct medical neglect and abuse of authority in light of the seriousness of this matter.
The medical necessity of socialisation is a fact. Depriving T of the right to maintain correspondence with her community, or prevent her contribution to the improvement of your prison through work and classes indicates a concerted effort by the prison, you, to silence and allow physical harm to come to a prisoner in your care.
Your actions have placed T in immediate medical distress and ANY staff in your prison aware of her case who has maintained silence and hidden behind prison procedure will be considered responsible for the deterioration of T’s health and any health consequences both immediate and long term. I repeat, ANY HMP Peterborough staff that have allowed this life threatening situation to escalate to this point can be held liable.
Once again, I demand an immediate transfer of care for T Hoxha to a hospital in Northampton Healthcare Trust and the prison immediately reinstate, in both writing and action, the little socialisation T’s managed to have perfectly safely for a while now.
Thank you for your attention to this matter.
. … . ..
Featured Track:
Genova Libera by Brigada Flores Magon from Tout pour Tous
This week, we’re sharing three segments. First up, you’ll hear Yara speaking about Solidarity International, a new initiative to support prisoner support and anti-repression work beyond borders initiated by various anarchist and anti-authoritarian groups networked together, including the International Anarchist Defence Fund and various anarchist black cross groups across the world. Yara’s voice has been re-recorded for anonymity. [ 00:02:19 – 00:29:02 ]
We’re releasing this in the run up to the 2025 Week of Solidarity With Anarchist Prisoners (or WOSWOP), August 23-30th, in which people are invited to gather, connect and take action against borders and against prison walls. You can find more about Solidarity International at their website, Solidarity.International, find them on their mastodon, bluesky, telegram or instagram accounts, and see the 2025 WOSWOP call for solidarity on that site or linked in our show notes. We read the statement here as well. [ 00:29:21 – 00:32:37 ]
Then, you’ll hear 2 segments from recent episodes of B(A)D News, a monthly podcast in English from the international A-Radio Network. More audios like these, plus archives, can be found at A-Radio-Network.Org
The first of these is from the Anarchist Assembly of Biobío near so-called Concepción, Chile from the June 2025 episode of B(A)D News, featuring a chat with the art collective Mesa 8, where they discussed memory, art, and the military dictatorship that began in 1973. [ 00:33:18 – 00:38:23 ]
Following this, Ausbruch from Freiburg in the German territory spoke with the Red Aid, “der Rote Hilfe” about their work and current challenges from it’s founding over 100 years ago by the German Communist Party (KPD) into it’s current iteration. This segment can be found in our July 2025 episode of B(A)D News. [ 00:39:12 – 00:53:34 ]
Finally, you’ll hear a segment from Sean Swain… [ 00:53:36 – 01:01:50 ]
This week, we’re sharing a recent interview with Kennedy Block and Josh MacPhee, editors of Strike While The Needle Is Hot: A Discography of Workers Revolt from Common Notions. We speak about audio strike records, their role, what they tell us about the struggles they cover or were produced to amplify, and a bit about where music and popular resistance stand today.
Free Jack, Free The Airwaves zine can be found here
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Featured Tracks:
Sciopero Interno by Fausto Amodei from Sciopero Interno, 1968, Italy [ 00:17:04 ]
More Percent by Kirk Thorne from Songs from the NCU Strike, 1987, UK [ 00:36:11 ]
A Year and a Bit by The Hindle Strikers with TBE from Part of the Union!, 1984 , UK[ 00:58:04 ]
Viva La Huelga! by Polibio Mayorga from La Huelga, 1982, Ecuador [ 01:18:12 ]
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Transcription
TFSR: We’re joined by the authors of Strike While the Needle is Hot: A Discography of Workers’ Revolt. Kennedy Block and Josh MacPhee, I wonder if you could introduce yourselves to the audience, sharing your names, pronouns, and any other information you’d like to share about yourselves?
Kennedy Block: Kennedy, it’s great to be here. Drop the [Stop Cop City] RICO prosecution!
Josh MacPhee: Hi, this is Josh MacPhee. I use he/him pronouns. This book is part of an ongoing process of about a decade of trying to dig into and explore political music. People can find some of that process in my last music-related book, An Encyclopedia of Political Record Labels, which is a materialist analysis of the production of records for political and social movements. In a way, Strike While the Needle is Hot is a deep dive into one of those platforms.
TFSR: When you say “a materialist approach,” could you go a little bit deeper, break that down a little bit?
Josh MacPhee: Kennedy is much more trained in school and in music than I am. I’m on the border of tone deaf…
Kennedy Block: This is true.
Josh MacPhee: So I am anything but an ethno-musicologist. I’m really looking at music as agitprop. The material structure around the music. I love vinyl records not just because they’re what I grew up listening to, and the thing that got me into punk and all these other things in the 80s, but because they come in a giant sleeve that is packed with all this extra information, and is like an oversized canvas for artwork. The material objectness of the sleeve, the material in it, where the record was pressed, how it was distributed, all of those things can tell us an immense amount about the people who are doing that, whether that’s a National Liberation Organization in Africa, or workers who are on a wildcat strike.
Kennedy Block: Yeah, I feel like it’s in the title, too. It’s like an encyclopedia of political record labels, of political songs, or musical styles. It’s this very specific piece…
Josh MacPhee: The discography of workers’ revolt. We’re really interested in how workers, in unions, but a lot of them relatively autonomously, were using this form of the vinyl record as a pretty powerful form of agitprop that wasn’t just about the songs. It was about using the songs beyond the picket line, because no one’s playing a record on the picket line. They’re just singing the songs, getting that out further. And the ways and tools that people do that, and what the benefits are of doing that.
TFSR: As you mentioned, you had this encyclopedia that you had worked on, Josh, and this new book, Strike While the Needle is Hot, talks about one of the aspects that you covered or touched on in the other one. I wonder if you both could talk a little bit about the archival work that you’ve engaged with, pulling together the book, and how you made the choices of what to include.
Kennedy Block: Yeah. I feel like I was thinking about this question. The best way to answer is on the top level, this book comes out of the shared archival principle that the best and perhaps only way to truly preserve something is to use it, to facilitate and to spread its use in one way or another. And so the book, in its presentation and what we focused on, is focused on recirculating as much of this material as possible. So a lot of that is [including] as many photos and stuff as we can, putting together the mixtape. But also tailoring the writing to pull out the bits and the anecdotes that all together help to open up our contemporary imagination of what is possible, and has invited us into continuing this as a style. I think the book tries to show it as part of a repertoire, and what’s being archived is this sense of what you can do and the possibilities there.
The top line that this comes out of it, the principle is that use is preserving something. I’m so dedicated that to Josh’s chagrin, I was circulating bootleg copies of our own book before it was out, on a printed out Google Doc. Just trying to get it instant ideas to as many people, particularly the kind of musicians I know, because they don’t know a lot of factory workers.
Josh MacPhee: I think that in the ideal world, the book would have come with a record, or a set of seven inches tucked into the sleeves. But unfortunately, we live under a capitalist copyright regime, and so there’s a funny thing where we can talk and write about these records, but we actually can’t reproduce the songs without clearing the rights. And the rights of most of this music are in a nether world, because the record label that put them out was ad hoc. The musicians are unlisted, so there’s no way to get the rights to most of this material. It sets up this funny thing where there’s an archival project about music in which there’s no actual music. Although, Kennedy mentioned it, we just finished a mixtape that we’re duping onto cassette, because that generally flies under the radar, and we’ll have a digital download too, so people can listen to a lot of the music. I don’t know if almost any of it is on platforms like Spotify, and very little of it is on YouTube. So it is hard to hear, because these are literally the records that fell through the cracks.
TFSR: You were kind enough to point me to some of the tracks. So hopefully listeners will hear a little bit of that interspersed in this conversation. I was just listening to it beforehand, and going back through the book, finding this is on page 122, and this one’s on whatever.
Have these things come across your awareness because of the work on the encyclopedia? Or have you requested these records from friends in the archiving community or the radical art community, ‘Hey, have you heard of any of these sorts of albums? Could you send them our way?’ How did you find the material that’s in the book?
Josh MacPhee: It was a mix. I had passively absorbed some of these records while I was collecting, just kind of hoovering up political records. And then my friend Chris, who was one of the founders of 56A – one of the last anarchist info shops in London, sadly, he out-of-the-blue mailed me this seven-inch record of Ford workers in the early 80s on strike in London. It’s an incredible record for several reasons. I’m pretty sure I sent you one of the tracks, “Johnny Striker,” and at the time, there was no evidence of this record online. It wasn’t on Discogs, which is the go-to site that catalogs music recordings. It wasn’t on eBay. It just didn’t exist. And so I was like, “Huh, this is really interesting. These workers who created their own autonomous workers’ organization outside of the Union, and then used some of that power during a strike to produce a record of all things.”
That had me digging through my existing collection and finding other examples that I hadn’t really correlated together yet, and made me think this is something worth digging deeper into and exploring. That started the hunt, sending notes out to friends who were in Scandinavia or other places, saying, “Hey, do you know any of these records that came out of strikes?” And then just digging. Digging online, digging in record stores, trying to find anything that looked like it could be one of these records. And then sometimes it was a flop.
A lot of times, there are interesting records, and a lot of them are interesting politically, sonically not so much. Some of them are really cool, but some of them… You know, how many times can you listen to the Internationale being sung by a chorus of people that aren’t trained singers? They’re not highly prized, so they’re not records that are expensive to get; they’re just hard to find because people aren’t promoting them. So they’ve just kind of fallen by the wayside.
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TFSR: Did you create the idea of a “strike record” in the putting together of this book? Or was this a pre-existing phenomenon where people were going into a labor struggle, and they were like, “Who’s going to make the strike record?” And what sort of materials were going into some of the records that you found here? You listed off a few different types of content, like speeches or workers’ choirs.
Kennedy Block: I could say a little bit to this. Correct me, if you feel this is wrong, Josh. It feels like these different concepts of what is a strike record, on one hand, it seems to exist as a practice. It’s a thing that, through the given ecosystem of leftist focus on culture that is maybe going 70 to 80 years after the salt on it, unions had record labels, these political organizations had record labels, as you documented in the encyclopedia.
But at the same time, we also make a distinction by only focusing on vinyl records. This is another slice that pushes us in the organizational and infrastructural direction. Because a vinyl record, as opposed to a cassette tape, for example, requires so much more coordination and organization to get off the ground, and commitment to a kind of scale that you don’t need to have with a small run of personally produced cassettes and things like this. That ends up getting reflected in the content of the records.
And I feel to me at least, what emerges after having worked on all these is the idea that a strike record is, at base, a form of active participation in a struggle like others, but it tends to focus on popularization, clarification of political stakes, and circulation. So it’s a form of agitprop. But at base, what we see in these records is people eschewing the distinction between protagonist and musician supporter and either just getting into the thick of it, playing on the picket lines, or producing different musical styles that attempt to fuse it and try to build these different kinds of music, sometimes a little harshly, like smash Welsh choir with industrial music or something.
Strike records end up being, on one hand, a technique of struggle, like others, that focuses on a particular range, but that is also not reducible to the music contained on the record. A strike record is not a certain kind, like diddy or an already known song like “the Internationale”. It’s also the collectives that produce it, the artist, the label that press the record, and the Community Studio that recorded it. And it’s the working class history and initiative of workers and musicians who are actually making the music.
Josh MacPhee: We catalog 80 records in the book, and we tried to focus on and set some boundaries. The vast majority of these records are records that were produced in part with workers’ input or on their behalf, during or directly after a strike. So they’re records of strikes, not records about strikes. There are some exceptions to that that we included, for different reasons, it doesn’t really maybe matter here, but largely we were trying to say that these are records that are of the strike. It’s not a record that’s like, “Let’s write a song about a strike that happened 100 years ago and have a pop hit about it,” however unlikely that would be. In our organizational system, that wouldn’t be a strike record.
What’s interesting is that you do see the development of a self-consciousness in some ways, about these records, but only in certain contexts. For instance, Belgium is a relatively small country in Europe that, at least in the United States, often gets forgotten about. And yet they’re heavily over-represented in this book, in part because of the group of musicians who call themselves GAM, Groupe d’Action Musicale (excuse my pronunciation of all languages, including English). They started in the early 70s, coming out of the left, coming out of social movements, working with workers to produce records out of strikes, and that sets the template. I think we include three of the records that they produced, and I’m pretty sure there are probably two or three more that we couldn’t get our hands on. We even had someone in Belgium who was hunting for us and found evidence of these other records, but just couldn’t get them. So they set this template.
And then we see that there are all of these other records that follow in the wake of that, and groups that style themselves in some ways, like GAM. There’s a group called Expression that produces a couple of records with striking workers. So you see that the strike record, at least in Belgium, becomes a thing that people are conscious of and seems desirous to produce, as opposed to Germany, which is a significantly larger country with a lot more workers, where there are a couple of records, but there’s not a lineage of them in the same way.
In Italy, you have a lot of strike records, but they don’t seem to be consciously thought of as separate from the records that come out of other social struggles. Italy, from the hot autumn of ’69 throughout the 1970s, is this roiling bed of struggle, and so you have hundreds of political records that are coming out of Italy. Some of them are about strikes, some of them are about housing occupations, and some of them are about militants who have been imprisoned, and there doesn’t seem to be any distinction between them. So there are a lot of strike records, but they’re not seen as being elevated above other militant records.
I think that the place of the strike record is really contingent on the locale. In the English-speaking world, the place where we get a self-consciousness around strike records is in England in ’84-’85 with the miners’ strike, where dozens of records come out. We’ve collected, I don’t know how many, 20 in the book, and my guess is there’s another dozen that slip through the cracks. There is a real consciousness in the UK, from that point forward, around the record as a tool within labor struggles.
TFSR: I wonder how much that relates to the conception of labor and organizing labor in a distinct organism, distinct trade union structure, versus the autonomous movement that was about breaking those boundaries. So the record in this case is just a reflection of the general social struggle. I’m basically just saying the same thing that you just said, maybe. That’s interesting, though. The autonomous movements–I see what you’re getting at.
You talked about GAM as a sort of house band for the trade union movement. Could you talk a bit about the performers? Your introduction mentions Joe Glaser appearing on numerous records that you came across. I wonder if you have thoughts about who participated in these albums, how many were professionals, who took up the task for a specific strike, how many were the workers themselves, and what sort of motivations you were able to uncover?
Josh MacPhee: Joe Glaser is interesting because he’s not actually on any of the strike records. He’s kind of this mercenary that, I’m assuming, was in the CP, the Communist Party in the 40s and 50s, and emerges in the 50s as the sort of troubadour for the labor movement. So he records upwards of a dozen records for different unions, where he writes the theme song for the UAW, United Auto Workers, and then the theme song for the longshoremen. And then he records these records that are a mixture of songs that he writes new lyrics to, classic labor songs that are fairly corny, and specific to the union. So these aren’t struggle records. These are the kind of records that you would get handed out at the National Conference of the Steel Workers, like “The Glorious History of the Steel Workers in Song.” And these are not autonomous records at all.
Interestingly, he’s this figure that’s associated with labor so profoundly within the music world. He doesn’t touch these strike records. It’s just not his world. And that’s where the strike records are really interesting, because they show this tension between the unions, particularly the unions that have developed intense and tacit negotiation agreements with management to smooth over industrial militancy versus the more insurgent unions and the wildcat workers that produce a lot more of the records. The unions are producing these hagiographic records. The workers are producing these “F**k the bosses” records, and they’re very different.
Kennedy Block: In terms of literal performers, the stuff that’s collected in the book is oftentimes just the workers themselves singing. Sometimes it’s the workers performing–like on one of my favorite tracks–with the local high school band. Sometimes it’s these relatively avant-garde musicians mixing it all up. And sometimes it’s also established musicians from a kind of pop-ish mold lending their name.
Josh, you have this story about the guy who gets blacklisted after making his 70s funk record about coal mining. It’s not like you have to give something up to make a record like this into a more legitimate thing, but I think the ones that we were attracted to, yeah, definitely. And you can hear it in the music, oftentimes, it comes from a pretty strong impulse or clarity or just life. So, despite the corniness, they can still be very beautiful.
Josh MacPhee: You can see that who the performer is in these records, evolves over time. It’s not like something on your path; it sort of bounces around. If, just for the sake of argument, we would split into pre-1980 and post-1980. Pre-1980, you’re much more likely to put a record on and find that it’s the workers themselves, or a union choir, or the music comes out of, is embedded in the community that the workers come out of. And what it says is, one: that workers recording and hearing themselves is meaningful to them, and two: that that community is large enough to support the production of 500 or 1000 of these little black discs that then have to get distributed in the world.
In the late 70s and early 80s, you see this transition happen, where increasingly, although never explicit, there is a question about, “Do we need to start producing songs in a more pop idiom to get a broader audience?” That’s when you start to see more external musicians come in. You start to see this breaking down, or breaking up of the community that would all share a song. And as that starts to disappear because of encroachments of capitalist entertainment industry in part, as well as just assaults on labor in general, you get more and more records where you basically have pop songs that are either often relatively poorly done by the workers, or by hired out people that are supporting the workers that do these songs, that are rock songs, or electro, pop rap.
A real change happens, and I think that the reasons for that are not entirely readable from the records themselves. I think we can infer that there is this kind of combination of the breaking down of the ties that hold the working class community together, so that the sort of folk idiom and working class song culture in which people teach their kids songs, and then they teach their kids songs, and so when you put those on a record everyone knows the songs, and it validates you, that starts to have less meaning because kids don’t want to learn those songs. They wanna learn the Beatles or whatever. And so then you start to get these songs that sound more like the Beatles, to varying effects.
Then there is this interesting period, and you really see it in Belgium, like we mentioned, where you have these militant musicians who really align themselves with the workers, and they record with the workers. They write the songs with the workers. They’re not writing songs about the strike. They’re really embedding themselves in the culture of the strike.
In some of the records, they actually write and talk about that, which is really interesting. The sort of affective sense of what it means to be a musician and part of this movement, and the need to involve workers, the need for workers to be able to be musicians as well. This real attempt to recognize that social struggle is about the transformation of both the individual and the community. So they really get to this transition point where it’s the strongest, this real interrogation of who is the performer. This is the most interesting moment: when that’s a question, not an answer.
TFSR: Thank you. That was a very good answer. I really appreciate that. I’ve been thinking a lot myself over the last few years about political folk music and its reproducibility. I’ve been learning acoustic guitar, for instance, just because I’ve been inspired throughout my life by political folk music and the idea that someone can just know the general tune, and might go and perform it with some friends in a slightly different way than how it’s recorded somewhere. But that moment where people share that song, share those lyrics, share the sentiments that are there, and make it their own, in that moment, it’s not the same as turning on Spotify and putting on a Beatles song. It’s not calling back to you out of history as this frozen moment of art. It’s mutable and alive in the moment. And, yeah, that’s a really cool insight about that shift towards pop culture.
Kennedy Block: One more aspect of that that comes through in the records is something that you’ve talked about before, Josh, that a lot of what we’re seeing involves, in some way, an invitation. It could be as simple as the fact that with many these records, the lyrics and the lead sheet, the chords to the songs are included, such that it’s being circulated within an audience that is also not being asked or trained to think of themselves as a passive, consuming audience.
TFSR: I guess you’ve kind of already gone into this a bit, but I’m curious about who the record was produced for. You’ve already talked about this in a few ways, but if we could just talk a little more specifically. How were the albums distributed? How much fundraising would come from these for the movement, for the strike? Did they get played on the radio during the struggles, or were they more souvenirs and “records of the moment and the struggle”?
Josh MacPhee: Some of that is not knowable by the records themselves, although some of the records give accounting of how many records were pressed and the expectation of the income that they’ll make. “We’ve prepaid this much into the strike fund,” so we have a little bit of information, but some of it is relatively unknowable. We do know that it’s unlikely any of these records were pressed in a volume less than 500 copies, because, as Kennedy was saying, unlike cassettes or CDs, you couldn’t at the time self-press a record. They had to be industrially produced. So there had to be a level of investment to make that happen.
I would say 75% of the records in the book are seven inches, as opposed to LPs. And I think that the reason for that and it makes a lot of sense–is that strikes are often quite short. There are limited resources, so it’s much easier to not only have the capital to put out a seven-inch but to record the 12 minutes that you can fit on a seven-inch versus the 40 minutes that you can fit on a 45 LP. The LPs are actually often quite extraordinary, because they speak to a much higher level of investment.
Kennedy Block: It’s easy to forget that the strikes are lasting a month, three months. To put together all of that in a couple of months, even just for a seven-inch, is incredible in the pace that people are working at. And it’s probably evidence of the familiarity and sort of see that.
Josh MacPhee: It shows how one of the unintended side effects of being on strike is that you have a lot more time.
Josh MacPhee: In the UK, the Ford record that we mentioned before says in really small type on the edge of the sleeve: “Will John Peel play this?” At least a couple of other records make this reference. John Peel was famous as one of the only DJs who played popular music on the BBC, and was sort of a make-or-break DJ for popular music acts in the UK. So there is a kind of consciousness around the possibility of getting radio play, I do think. Particularly when we’re talking about places like the UK, where there’s a really robust independent music scene, and you get records coming out in the 80s in support of things like the miners’ strike, like Billy Bragg or Test Department, one of these industrial bands, the Redskins. You have these bands whose songs were probably played on the radio.
But then you also have evidence on the record that Kennedy mentioned, which is from the early 70s. It’s like the first British miners’ strike record that we could find by John and City Lights, where John is this guy, John Paul Jones, who had a handful of hit pop records and was largely a stand-up musician, who’s a comedian, but he felt very strongly about the miners’ strike in 1972. He recorded the seven-inch that his label, Polydor, was going to put out, but they refused to put it out, and then it got banned from the radio. He sort of disappeared after that. His career was tanked. His backing band, City Lights, went on to become the relatively popular kind of blues-rock band, 10cc, so it didn’t hurt their career, but they also weren’t listed.
So you get different relationships to popularity. In Scandinavia, there were a number of quite popular groups that fell under the umbrella term called Prog, prog rock. The origin of the term is similar, in a way, but “progressive” in the Scandinavian context didn’t just mean progressive musically, but explicitly meant progressive politically. So you had folk bands that were playing much more complex progressive music increasingly, that also were explicitly leftists. Some of these bands ended up being extremely popular, and they would record strike records in support of workers, and those more than likely got played on the radio, because some of these bands were the equivalent of platinum-selling if they had been Western Anglophone bands.
Kennedy Block: Another aspect of the popularization that is aimed at by some of these records, not just in terms of popularization, in terms of audience cultivating, but also [effort] to popularize a struggle amongst the working class, to go and off through face to face interaction, create the sense that your fight is my fight, my fight is your fight.
For example, another, I think Belgium record, the Capsuleries Vivra! which is again an instance of a record that’s supported by another kind of leftist institution, thisradical magazine (POUR). That’s the recording of a band that comes out of the factory, but they’re really tight. They play extremely well together, and they have some great songs. What’s documented on the sleeve is their travels to different factories to perform directly, acting as a cultural unit that can bridge struggles to other places. You know, in the same way that bands can do this, other kinds of political cultural units can do this, like soccer teams, maybe.
TFSR: Can you talk about how the tradition continues despite changes in the technology of sharing music? For instance, I’ve seen benefit compilations for social and ecological struggles like Stop Cop City, the Mountain Valley Pipeline, Anti Fascist Action, or prisoner support movements over the years. How has it changed since the days that you were recording in this book?
Josh MacPhee: The book goes up to about 1990, and part of the reason why we stopped there is because that’s the point at which cassettes and CDs start to outsell vinyl records. You don’t get strike records after that, because the whole point of the strike record is, on some level, to popularize a struggle. And so if people are listening to cassettes and CDs, then why would you put a vinyl record out? There isn’t the kind of nostalgia within the workers for the vinyl record, like there is in the punk scene, for instance.
First, you see a shift to cassettes and then to CDs. And both are much easier to produce. You can make 10 cassettes and just give them to workers on the picket line as a kind of morale booster. We didn’t dig that deep into these further technical iterations, because they’re much harder to track, and because of their potential boutiqueness. It’s hard to know whether one cassette was made or 10,000, and therefore it just didn’t seem worth tracking down and documenting a cassette that five copies were made just for the workers themselves, because that wasn’t what the project was about. Then that holds over to CDs.
Then we move into a lot of what you’re talking about, these compilations that show up on Bandcamp that you can pay a sliding scale of $10 to $30 to get this massive download of songs that people donated in support of these struggles. I think that those things are very cool, but one of the things that they often don’t have is any of this architecture around them to educate anyone about those struggles. Because it’s just ones and zeros, it’s just data that you pull down on your computer or your phone, and then it gets sucked up into algorithmic playlists that you have on whatever device, it kind of gets de-tethered from the struggle.
A lot of times, the songs aren’t about the struggle. They’re just donated to try to get people to buy, which is good. It’s important that people have ways and reasons to support these struggles, but there’s less of that kind of sense of a whole package. We can’t go backwards, but I look forward to people trying to go forwards and think of new ways to create music and sounds to support struggles that have context embedded in them, in ways that. When you listen, they have an it-ness that connects you to the politics, rather than just this ethereal relationship.
Kennedy Block: I think for me, when I try to look at contemporary iterations of this book, I think of the struggle against Cop City, mainly because it’s a struggle in which there was a sort of mastery of autonomous crews that were working to push the struggle forward. What seems the most interesting part, and what the struggle offered, was that these people took on the political responsibility of communicating the struggle and of creating. We did an exhibition of interference, and something that came out is the vast amount of, in this instance, writing. The vast number of attempts to popularize and to communicate the meaning and the needs of this struggle, and to take responsibility for that in zines and writing.
Also, treating the mainstream media as a terrain that you can make operations on, not making an ethical judgment about it, being for or against it, but treating it as part of this field that, as someone legitimately trying to form narratives and bring people in, it’s a terrain that you do things on. Things like we see in this book popped up. You have independent organs for the struggle, like Atlantic Community Press Collective, that start doing research that supports other kinds of efforts.
It’s a situation in which there’s the free giving away of authority to anyone interested in participating in the struggle, mainly through the technique of just non-condemnation. There’s this active tone of “you are a political actor, you have the authority to organize in your zone towards this.” And it helps create this ecosystem that feels, to me, the most akin to what we see in the book, what we’re interested in the book, that allows for all these kinds of experiments to happen. Part of the kernel, what I would take from the book and keep moving forward, and how I want to think about music moving forward, is this investment of agency and authority for anyone involved to start working on it. So there’s stuff like that.
But also within the Cop City struggle, there have been organized attempts to use music as a tool to get people involved. The most famous example was the series of raves and then music festivals inside the occupation as part of a place-making strategy. A strategy of building participation in the movement that had, I think, severe limitations that I don’t really know how to speak to properly. A lot of my thinking about this is influenced by a variety of things, but also, if you go into freejack.co, this is the support website for Jack Mazurek, who’s facing some charges after a series of home raids.
There’s a zine there you can download called “Free Jack, free the airways,” that works through this idea of what it is to be a militant musician. They’re not just defining music as something you do to support a struggle, but if we understand our struggles contemporarily as paradigmatic struggles between a world of death and a world of life your ability to freely develop your expression, and even just to literally make noise in public is attacked and impeached upon through a variety of legal [measures] and forcibly. And so they’re like, ‘”ou already have a stake in the struggle.” There’s good writing on that.
We include in full a flyer from the fifth Week of Action in the forest that was circulated during this music festival that I’m talking about. I kind of want to, if possible, just read it and then maybe Josh or Bursts, if you have thoughts about how this sketches something that’s actually pretty different than what we’re talking about, or whatever. It’ll probably take a minute or two. Is that okay?
“This is not a music festival because we are not here as consumers or as near spectators. This is not another photo op, another networking opportunity. We are here because our need for a free forest, culture, and existence can’t be crushed by the police, nor can it be sold back to us as an image in an uninspired Hollywood rip-off.
In a cave called Divje Babe, located in present-day Slovenia, archaeologists have recently discovered a 60,000-year-old flute. The human need for music has been with us since the very beginning. We are here to affirm that this deep and timeless desire, which has survived an ice age, the rise of empires and states, the advent of borders, slavery, war, famine, and holocausts, is an important part of the current struggle.
This movement is not just about a piece of land. It is not being fought between the police and their goons on one hand and some activists and their friends on the other. We are witnessing the collision of two competing ideas of life and the future. If they win, they will pollute all the rivers, destroy all the forests, pave over everything beautiful, and they will use the police to assure unlimited profits as our civilization chokes out its dying breaths. If we win, human needs will be measured against the imagination, against our collective ambitions and dreams, not held hostage by a system of artificial scarcity and waste. Our communities will not be held together by their ability to kill and maim enemies or heretics. They will be held together by music and the ability to generate common luxuries.
So let’s not say, ‘Oh, they don’t really care about the struggle. They are only here for the party’ or ‘This is not about music and festivals and all of this crap. This is about serious politics and organizing.’ Instead, let’s say the truth. This is only a glimpse of what we could give one another if we managed to outlive the oil-based economies of the current world system, the emancipation of the senses, the free development of the imagination, and the passions. This is precisely what we are fighting for.”
TFSR: Then the “No-Cop City, No Hollywood Dystopia.” It’s interesting. I sometimes forget that they were also planning a movie studio on the spot, in addition to the Cop City facility. Josh, I’m not sure if you’d like to reflect on that.
Josh MacPhee Let me go back a second. I grew up and was politicized through punk, like a lot of my peers. Within that paradigm, punk was presented as the inverse of, or the antagonis to to folk music, and so I had no experience listening to, understanding, or even really knowing what folk music was until relatively recently. It wasn’t until I started working on the encyclopedia, and in particular, had movement elders give me records and listen to them, that I realized that folk music means people’s music. Folk is not Joan Baez, there are folk traditions all over the world. They sound extremely diverse. They’re not all the same, although they can overlap. That has sent me down this rabbit hole of being extremely interested in folk music, this idea of how it feels to be in a community in which music is just part of that community. It’s just part of who you are and what you do. You all know songs, and you sing them together. We’ve fundamentally lost that for the most part.
What’s nice about the political angle within the Stop Cop-City struggle is this attempt to figure out how to reclaim that. That’s going to be harder to do than we would think. We’re so polluted/enamored by pop music. It’s also interesting because when you were reading that flyer, Kennedy, I was thinking about Glastonbury. How Glastonbury–he huge Music Festival in the UK–which started as a free festival that was made by people who just traveled around and squatted the land and then played these massive concerts with Hawkwind and all of these jammy, space rock bands. They were hyper political and now they are super corporate. Yet you have these people like Kneecap or Bob Vylan, who in some ways embody the very thing that flyer is against. Again just them speaking up about Palestine has led to them being banned from countries and facing criminal charges.
It’s interesting that we live in an ecosystem in which music is a powerful terrain of struggle, and there are lots of ways to struggle on that terrain. I really like this idea of trying to create these autonomous, very DIY music projects. But I also don’t want to stop the Kneecaps of the world from using a platform that they have to say things. I don’t think that’s the world we want to live in, where there are famous people, and we listen to them, and what they say makes it more important than if someone else says it. But whether we want to live in that world or not, it is the world we live in. It’s interesting if there’s a way to somehow do that and undo it at the same time.
I think that in the records around the miners’ strike in the mid-80s in the UK, you see that tension. You see people like Paul Weller from the Jam and Style Council. He created this super group called the Council Collective to record this record, to raise money for striking miners. And it’s a dance record. It’s made to be played on the radio and in the club. You can see this long-format apologia on the back. These musicians want to support the struggle, but they function at a level in which there’s so many people that need to sign off on what they do to get a record to come out, that when this record finally comes out, on the back there’s this longform apology about the fact that some striking miners dropped a cinder block off an overpass and hit a cab that was carrying scabs to the workplace, and people were injured. It’s almost embarrassing, this wanting to support struggle, but not the way that workers are actually struggling. They want to support some idealized version of how workers are going to struggle, in which everything is clean and simple and no one gets hurt.
We need to figure out ways to start to unpack that, to encourage the Kneecaps, but also hold accountability to it. It is not the musician’s role to decide how workers are going to struggle, or how Palestinians are going to struggle, or how people organizing against Cop City are going to struggle, and like that flyer says, invite as many people in as possible. If some massive pop star wants to support Cop City, then that’s great, but they don’t get to decide what that struggle looks like. It’s great because these records embody some of that tension, these early attempts at trying to hash that out and figure out how to do that.
Kennedy Block: One thing that seems to help in all these instances, the priority here is that there is action happening, that people are struggling and doing things. That, with all these strike records, the basis is that there is a strike going on, like in Cop City,
Josh MacPhee: There’s something at stake, something very real,
Kennedy Block: We learn that in the development of these cultural and political ecosystems, some of the values that one can take are that leading with bold action is one of your strongest friends. The struggle against Cop City started simultaneously with an info night. It was a public preempting of the city’s narrative of how this facility was going to be constructed. It was in the park and had most people, and then that night, the construction of equipment was burned.
Or in the George Floyd uprisings in 2020, within the first week, extremely soon, a police precinct was burned to the ground. Strong action, bond action, experiments create ecosystems around them. Action begets organization, almost more so sometimes than organization begets action. So we have that, and then a basic principle of not approaching struggle as a primarily ethical problem, as a place in which one should find and police bounds of purity, whether that’s your ideology or the mode of struggle. This one’s perhaps the sloppiest and the one the most about non-condemnation, everybody’s just going for it. That one is really hard in practice, but as a set of principles of unity and stuff like this, this is the direction that is supporting the most dynamic ecosystems of militant struggle that we’ve seen in the past five years, at least, probably more. And music, I don’t know. I’ve already spoken a lot about it.
TFSR: Getting back to the book and the way that you curated it. Obviously, you had a bigger volume of records to pick through, I’m sure, than you put in here because it was curated. Were there any records in particular that struck you as notable, the performers, the art, or the content of the album, or the inserts that you were able to find?
Josh MacPhee: One of the big ones which Kennedy mentioned in passing is this record by the Hindle Pickets in TBE, which was produced in the Midlands in the UK, just before the miners’ strike. Hindle Pickets are pickets from the Hindle Gear factory. It’s a workers’ choir that is a tradition in the UK, they work at this gear factory, I believe it’s in Bradford. TBE was, from what we can tell, a high school band; some of them may be the kids of the workers. They never released anything else, and there’s nothing specific about the band other than the musicians’ names in the record. But it’s this incredible mash-up of these young kids that are listening to a lot of Wire, Gang of Four, and the Buzzcocks. It’s this very post-punk kind of sound. And then these guys, who are just a workers’ choir, put out this song, ?Year and a Bit,” which is a droney post punk backbeat, with the workers narrating effectively, what it feels like to be on strike. And it’s extremely arresting.
It’s a pretty incredible record, both politically and as a pop record. That one is really a standout. In addition, it’s one of those records that’s just jam-packed with little pieces of paper. It’s got a whole sheet about how they produce the record. And then it’s got a letter from Neil Kinnock who’s the head of the National Union of Miners at the time, or he’s maybe the Labour Party liaison with the unions in support of the strike. Then there’s a history of the strike and why they went out on strike, and ways to support, and it’s really chock full of information. It’s one of these great things where you’re not just listening to this great record, but learning in almost minutia about the history of this struggle, and that’s a real standout. In a way, it is very similar to the Ford record that we mentioned, which is another record that is embedded with all this paratextual information so that you can really learn about the strike. Those are two really good examples. I don’t know if you want to throw a couple more in.
Kennedy Block: We’ve been sitting with them for a while now. In making the mix-tape, I was particularly surprised by how much some of the picket line ditties stuck in my head. So this is just the women’s choir of the Keresley Pit, just in most block-headed English tone: vocalizing “You won’t find us at the kitchen sink. You won’t find us at home. Come on over to the picket line, we’ll be picketing there.” I can’t get it out now. It’s effective for what it was attempting to do, being a means of hanging out together. I know that also, just doing this book, has made other elements of my life stick out to me more.
Recently, I had the pleasure of being involved in what they were calling a Morale. Some comrades had come back from Rojava with all these intense ideas about culture and development of struggle, and things like that. They helped to facilitate this night of revolutionary music, which is nothing I’ve ever experienced before, but that was immediately so easy to do. In a barn, with some straw on the ground, some twinkle lights, and people singing sort of IRA songs, everybody starts stamping to them and hooting and hollering. I don’t think I would have had as much of a way to get into, ingest, and care about it and to feel wrapped up in this music. It’s a kind of reinforcement. I found myself having more and more fun coming back to the records.
Josh MacPhee: Yeah. Maybe it’s worth mentioning that there’s this really interesting record we found. It’s the last record in the book. It’s from 1990 and it was put out by a union called Sitek, which is from Curaçao. It’s a country that I don’t know a ton about but Curaçao has a very complex linguistic mix because of a history of colonization, and it’s a full LP that is documenting a 1990 Union gathering. Also, there’s a big strike that happens at the same time, and it’s unclear whether they just go on strike every year, so maybe this is one of many records documenting their strikes. The record, although it lists tracks, is not tracked. So, people who are familiar with vinyl records: it’s just one long song, one long audio track that completely seamlessly intersperses field recordings out on the street, meetings, people giving speeches. And then, there’s this amazing moment in the record where this call and response starts up, where someone breaks from a speech into this chant that is the most incredible, poly-rhythmic calling response.
Kennedy Block: It’s not like “Free, Free Palestine, Free Palestine.” It’s like, “da-dah da-da-dah-da-ha.”
Josh MacPhee: Within it’s all a cappella. It’s incredible. That record is a real standout, even though we’re still trying to parse exactly what’s going on on it, because it switches from multiple languages without any contextual clues. That’s a really interesting and fascinating record.
Another great record is one of a couple that came out of the struggle in the Lip factory. Lip was a watch company. The watches were built on the border between France and Switzerland, classic watch territory, with a long history of anarchist watchmakers. In part, in response to May ’68, the culture of the workers really changed in the late 60s and early 1970s. In the early 1970s, the workers not only went on strike, but also occupied the factory and kidnapped some of the bosses. And there’s this record that they self-produce where they have this militant chanson singer Claire Martin Michone, who on the record is just listed as Claire, who is present for and listens to and takes notes during all their meetings and writes songs based on their meeting notes.
This record, these songs are maybe the only record ever that has songs about meetings interspersed with workers talking. Then she takes this show on the road and travels around France, giving concerts and selling watches from the occupied watch factory to support the workers. This is pretty incredible. It’s not just a piece of plastic. It’s a document of a very dense social process and struggle. The record is a seven-inch, but it’s in this oversize sleeve that unfolds and has cartoons in it, and all the information about the strike. It’s pretty great.
Kennedy Block: The slogan of a lot of this stuff could be: “It just keeps going.” It just keeps going, it just keeps folding into new activity. That’s the ethos of it. I was thinking of another conversation recently, that the ethos of an organization should not be to preserve itself, but to go for broke, and in the process, probably dissolve itself and become new things. And that feels like it happens over and over again in the process of these records. Going for broke. What that means is to preserve an underlying activity and culture, perhaps more so even than just this or that band.
Josh MacPhee: Many of the records are about a specific strike, but they document a sediment of struggle. It’s about a specific set of demands or a strike, but you can see that all these other people and struggles participated in the construction of that. There’s this another incredible record that was put out by the strikers at Chausson, which is a French bus manufacturer. They work with this group Germinale, which is a youthful seeming jazz rock act that actually writes a manifesto in the seven inch about what it means as musicians to participate in the struggle. They record a song that’s specifically about this strike, and that’s on one side of the record, but the other side of the record is a field recording of the picket line. The Chausson factory workers, in part, go out on strike for a set of reasons and conditions. The thing that pushes them or breaks the camel’s back, so to speak, is that the bosses lock them out. So they create this massive picket to stop the bosses from allowing the chassis of the buses to leave the factory; they’re basically blocking the bosses from running the factory without them, and they can’t do that themselves because there are not enough workers.
There’s another strike going on in Lyon at the time: the cable makers, who are mostly Moroccan, and they come to support the strikers. So there are these French-born lorry chassis makers, and then you have the Moroccan workers who come. The French strikers have a big band, a classic workers band, and then the Moroccan musicians come with all these North African instruments. The record is the six and a half, seven minute jam on the picket line of them playing together, and it’s incredible. It just shows the levels of solidarity that get embedded in these struggles that you wouldn’t know about if this record that shows and documents that struggle wasn’t still there to be picked up. The cover of the record is a screen-printed, rainbow-rolled, very graphic image. There’s no way it would exist if there hadn’t been the student and worker strikes in 1968, so it’s clearly drawing on that struggle as well. You can see how these histories of struggles intertwine to make these moments of militancy. These records are the objects that are windows into that.
Kennedy Block: The bit that you were referencing was written on the sleeve. They describe what you described in the last paragraph: “The party will last all day, referencing the face-off with the riot police. The first side of the disc recorded on site captures one of the most enthusiastic moments. Thanks to the contact established during the strike. In particular, with comments from the strike committee, we created a song which tells the story on the B-side: ‘Long live the Chausson strike!’ As for us and as much as possible, in liaison with other cultural groups, we intend to continue this type of work, minus errors and inadequacies, where the people live, work, struggle and express themselves, so that a culture will be created which belongs to them and bears witness to their multiple battles against the economic, political and cultural pressures…”
TFSR: That’s beautiful. Long live the strike. That’s really fascinating. When you were talking about that, that dug it a little deeper into me of how these aren’t just documentations of the moment or agitprop of the individual struggle that they’re documenting, or whatever. You can see the seeping in of what people are bringing, the culture, the demands, the desires that situate those specific struggles, too. That’s really interesting. That’s really cool.
Josh MacPhee: You see this interesting tension in the writing, and even in some of the music, where there’s people who are coming out of the communist traditions that have very didactic ways of articulating, communicating struggle, who are in these moments of profound social transformation, where the strike isn’t just about a higher wage, but it becomes about a new way of life. Where your dad’s didactic Communist Party way of communicating can’t contain the energies of the struggle in the community. That is interesting and exciting to see that stuff continually break down, that history being important, and people are drawing from it. They’re really trying to build something new and figuring it out by doing.
TFSR: You’ve already pointed to a few of the interesting labor struggles, like the watchmaking factory, for instance, or this cross-industry, cross-cultural solidarity that was being shown at the chassis-making factory. Were there any other labor struggles that you hadn’t heard about which piqued your interest, that you came across when you were researching for the book?
Kennedy Block: There is a lot. The only thing that’s just picking into my mind right now is this anecdote from the Gainer’s meat packing strike in Alberta, somewhere on Canada’s West Coast, that was very small, but with many different techniques. One of the techniques of their strike was also an organized boycott of Gainer’s meat, and that didn’t just mean “don’t buy it.” Workers and their families would go into grocery stores, put little stickers on the Gainer’s, meat in the store, saying ‘this is scab meat’, and then they would poke little holes in it. What does it actually mean to run a boycott? When you’re serious about it, and when you have an organized base that is actually in relationship to the product, not just saying: “Don’t buy it at the Home Depot.”
Josh MacPhee: It’s worth mentioning that there are several records that are not just about labor strikes, but clearly about feminist struggles. Particularly because we’re looking at the stuff in the 60s, 70s, and into the 80s, there’s a lot of miner struggles and these traditional conceptions of blue collar masculinity, but there’s a surprising number of records that came out of many more factories run by women.
There’s this great record from the Obsession factory in the mid-70s, which is a lingerie factory. All women’s garment workers went on strike, and they promoted the strike and the record by calling it the story of O’s. Obsession with the O being really big playing off of at the time, the soft porn story of O. It was a big movie that was in all the box offices across Europe, like a blockbuster film. So they’re playing off this question of sexuality and making lingerie to popularize their strike. There are a number of examples of these women’s struggles where there’s a real consciousness around feminist intervention into the realm of workers’ struggles.
Kennedy Block: There’s another one. When we looked at the punk record DOA, their seven-inch “General Strike,” is referencing something I had no idea happened, which was the development and near-pulling off of a General Strike in Canada in the early 80s. It urprised me with its breadth.
Josh MacPhee: It’s actually the only punk record in here that is being conceptualized as this paradigmatic political musical form. I think there’s something about the individualism rooted in it that probably made it difficult for punk bands to figure out a way to embed themselves in or to be close enough to strikes to really be able to participate in a meaningful way. It was surprising that this DOA record is literally the only punk record in the book, and that this record is also the only record that self-consciously advertises itself as a limited edition.
Kennedy Block: It came out afterwards that one of the main leaders of the solidarity coalition, who was tying up all these different sectors and pushing for political demands for this general strike, was on the picket so much that he got pneumonia. Then the person who replaced him sold everyone out in background deals essentially. That means that the strike basically ended as soon as this record came out. Also, the production timelines are pretty difficult, but it is funny that there’s this sense of trying to capitalize on it.
Josh MacPhee: At the exact same time that that record comes out, or maybe just a little bit before, there’s a general strike in Ecuador, and one of the most popular musicians in Ecuador, this guy, Polibio Mayorga who’s put out hundreds of records, produces a record called “La Huelga, Viva la Huelga.” It is an incredible cumbia song that supports the general strike, and it actually is so much more effective than the DOA. It is another thing in hindsight of looking back to my 16-year-old self, who was thinking that punk is the only politically real music, and how the sonic qualities of music are only as politically relevant as the way the music is used. It feels like the Huelga record is something that people all across Ecuador could bump and be super into, and the DOA record, a pretty small audience.
TFSR: Have you all seen the more recent documentary on Chumbawamba that came out recently? If you watch some of the documentaries that have come out about Chumbawamba’s early history, my understanding is that one of Chumbawamba’s early iterations was this project called Chimp Eats Banana. They were just putting together a benefit for the miners’ strike, and they were short on bands, so they’re asking themselves, what should they name the band? They picked up instruments, but didn’t play very well. They did eventually put out an album that’s pretty entertaining. If you can see footage of the punk bands performing at strike events, and you just see punks and Goths thrashing out on the stage, and the rest of the people are just wandering away during it. You can see that it absolutely is not speaking to the people that are actually participating in the labor element of it. Sorry to cut you off, Kennedy.
Kennedy Block: No, no, no. It’s funny. It reminds me of something. We watched one of the records, which seems to be from 1984 in the UK.
Josh MacPhee: It’s the same thing that Chumbawamba talked about, going onto the picket line and trying to figure out how to engage.
Kennedy Block: We were watching a documentary by Ken Loach called Which Side Are You On? And the cover looks exactly like the cover of a record that has “Which side are you on.”
Josh MacPhee: It’s essentially a soundtrack.
Kennedy Block: Again, it’s not phrased as a question. It is just, “Which side are you on”. That’s it. No question mark, no period, just like you already know. And there’s a recording in there of
Josh MacPhee: Charlie Livingston.
Kennedy Block: Charlie Livingston goes vocalizing: “Get off your knees, stand up and fight like our fathers did before.” It was within the aim presumably, it’s a room full of the most stone-faced people, but then it continues. One of those people in the audience gets up and performs a poem that they wrote, and they are more into it. I think one of our recordings also comes from that moment on the mixtape, that’s extremely raucous with fiddle sing-along that just keeps evolving into new songs.
Josh MacPhee: It acts like a striking hootenanny.
Kennedy Block: Yes, exactly. Seriously, for a minute and a half, they’re just going vocalizing: “Here we go, here we go, here we go.”
Josh MacPhee: Football chanting.
TFSR: Everyone loves to sing along.
Kennedy Block: Yeah.
Josh MacPhee: All there is to say is that the miners’ audience in ’84 was a tough audience for any musician, not just the floppy punk bands.
Kennedy Block: Yeah. But also, as you were saying, Josh, you have that anecdote about it, but if we’re taking it seriously, it is not necessarily the content of the music that creates its political impact. There’s the example of Pink Floyd’s “Another Brick in the Wall”, which, in our context, is perhaps a mostly fine, onboarding point to think about how stuff’s lbeig thought. But that in South Africa is banned, you can go to jail if you play that song.
Josh MacPhee: It became banned in South Africa because students who were going on strike were singing, “We don’t need your education, teacher.” They took the chorus as a chant, and so it led to being banned, which was, of course, not Pink Floyd’s intention. And so there’s that interesting thing in which, on some level, it’s the struggle that defines the meaning of the music, rather than the musician.
Kennedy Block: As something you think about as a designer within political spaces, too. You don’t get to just pick any old symbol, invest with all the meaning autonomously as an artist, and then, poof, there it is. We’re always working with a given language, and it’s defined by how it is used and the power that it accrues. The real effectiveness of political symbolism or music is what it can enforce as its meaning. Not just what you want it to be. This is kind of related, but do you know the Bible verse that said “And they put blood upon the lintel and upon the mantle, and God passed over them”, or whatever. I remember in 2020, in New York City, restaurants treated a handmade Black Lives Matter sign as blood on the lintel. So there was an enforcement of that slogan. It’s through action.
TFSR: As it should be. So you’ve already mentioned the mix tape idea. Should we talk about that if you’re worried about flying under the radar?
Josh MacPhee: No, that’s fine. We’re producing a small number of mixtapes, a couple hundred that have 24 tracks, 12 on each side that are mixed together, with edited versions of songs from the book. The actual physical cassette will be available soon. We are also going to link a digital download of that on the book page, on our publisher’s website, commonnotions.org, and we’ll also probably be on the justseeds.org website for the page for the book. So, if you’re an object fetishist, like I am, you’ll be able to get an actual cassette, and if you just want to hear the songs, you’ll be able to download the mixtape. And that’ll be if you go to commonnotions.org and search for “Strike While the Needle is Hot,” you can find it all on justseeds.org.
TFSR: I’ll link that for sure in the show notes for this. So any listeners, when this comes out, check that out. You were also mentioning a coupon code.
Josh MacPhee: Yes, for at least probably a week or two after this broadcast, so in the summer of 2025. If you go to commonnotions.org, buy the book and use the code at checkout, STRIKE15, you get 15% off the book.
TFSR: Josh and Kennedy, thanks so much for this conversation. Is there anything we didn’t touch on that comes to mind right now? Lingering albums?
Josh MacPhee: We went all over the place. If anyone listening knows of or has another strike record, get in touch. We’d love to hear about more. It’s always great to get feedback. So let us know what you think of the book, and let us know any ideas that you have. Both of us are really interested in trying to help facilitate ways that music and culture can be more impactful within our movements.
Kennedy Block: How can people best reach out? Instagram or email?
Josh MacPhee: Good question. I’m on Instagram. It’s @JMacphee, or email is josh@justseeds.org, and you can reach Kennedy through me, because he’s much more stealth in his communications than I am.
Kennedy Block: If you go to the corner of…
TFSR: At 2 o’clock in the morning,
Josh MacPhee: Bring a falafel.
Kennedy Block: The only other thing is that the RICO cases are starting up in Atlanta. Ayla King’s speedy trial just had its first meeting, and then was immediately delayed. It looks like the first set of trial groupings for our friends will begin. We’ve been given a gift. This is a point of concrete continuation and participation in one of the fiercest struggles of our era, and we owe it to our friends and to ourselves to shape the terrain that we will fight on in the next 20 years by fighting these cases. So make a plan to go to Atlanta. Organize your band to go to Atlanta, and organize your soccer group to go to Atlanta. Organize your queer line dancing group to go to Atlanta, make a carnival out of the cases and build connections. And also bring a tape recorder, because there are already punk bands playing outside of the courthouse. So let’s start putting it together.
Josh MacPhee: Similarly, we just saw the sanitation and city workers in Philadelphia forced to go back to work after being on strike for a number of weeks. I think we’re headed for a couple of hot years of labor unrest, and so support workers on strike in any way: go to the picket line and offer to help out. Get involved; if you’re in a union, start to mobilize your fellow workers to support other workers and use music. Get people coming out. Get that boom box out on the line.
Kennedy Block: If the city you’re in has another sanitation strike, be like Up Against the Wall Motherfucker, and pick up all that trash and bring it straight to the City Hall, or a rich neighborhood, and dump it there.
TFSR: It has to go somewhere, for sure.
Josh MacPhee: Build barricades.
TFSR: We are not promoting any illegal activity. That’s awesome. It’s just trash.
Kennedy Block: Recently in New York, people have thrown a bunch of trash in front of immigration vans, and trash alone is not enough to stop a speeding van from trying to ruin people’s lives.
Josh MacPhee: But in LA, we learned that burnt-out self-driving cars are enough to stop ICE vehicles.
Kennedy Block: It was the lesson from the Waymo blockade. That’s funny.
TFSR: Nail strips are a little more effective, but if they’re thrown in with your trash, then it’s the best of both worlds. Thank you so much, both of you, for being in conversation and for sharing this book. I really appreciate it.
Josh MacPhee: Thanks for having us.
TFSR: Yeah, go get a book, and I’ll be sure to link again to the Interference Archive podcast featuring some of those communiques from Cop City.
This week, we spoke with Richard Amm, a member of the Disability Action Research Kollective, or DARK, which they describe as a disabled-led group working to make disability perspectives, history, and research more accessible to a general audience. Amar and Richard speak about disability, eugenics, radical history the Corona virus and other topics. You can learn more about the project at linktr.ee/disabilityark
First up, A-Radio Berlin shared a conversation about the political motivated arrests and harassment of members of the Labor Desk Confederation of Trade Unions in Azerbaijan, which is calling for international solidarity.
The Labor Desk Confederation of Trade Unions in Azerbaijan is calling for international solidarity following the politically motivated arrests of its chairman Afiaddin Mammadov and fellow unionists Aykhan Israfilov, Elvin Mustafayev, and Mohyaddin Orujov. These arrests are part of a systematic crackdown on independent labor organizing in Azerbaijan..
Next, Črna Luknja from Ljubljana conducted an interview with OLTA (Open Leftist Assembly of Antifascist, Carinthia) from south-west of austria.They are mobilizing against the so-called “Burschentag” of the Austrian Pennaler Ring ,which is the association of the conservative fraternities.The austrian Pennaler Ring is connected with the ruling, fascist party FPÖ and extra-parliamentary extreme right.
This week on the Final Straw Radio, we’re sharing an interview with Matt Hart of the Los Angeles Anarchist Black Cross chapter of the ABC Federation. We talk about the book Matt just released via PM Press, an expanded edition of Boris Yelensky’s history of anarchist prisoner support “Shadows In The Struggle For Equality”, illustrated by NO Bonzo. Matt talks about the work of the LA-ABCF, ABC’s pre-history with the Narodnik movement in mid-19th century Russia, prisoner defense under the nihilist movement, some moments in resistance and mutual aid through the following hundred and fifty years or so, some colorful moments and comrades up into the 21st century. We hope you enjoy! [ 00:01:16 – 01:19:36 ]
Then, we’ll share a reading of the 2025 June 11th statement since this week is the day of Solidarity with Long Term Anarchist Prisoners. More info on that initiative at June11.noblogs.org and the original text can be found there [ 01:19:41 – 01:30.51 ]
This week, we’re sharing an interview with Garret Felber, author of the book A Continuous Struggle: The Revolutionary Life of Martin Sostre, which is due out May 5 from AK Press. Garret speaks about the life of Martin Soster, famed jailhouse lawyer who successfully won cases related to the constitutional rights of prisoners, was politicized in prison by the Nation of Islam in the 1950’s, ran radical Afro-centric bookstores in Buffalo NY to radicalize the youth, embracing anarchism during his time imprisoned on a frame up during which he was a celebrated political prisoner resisting cavity searches through the courts, went on to organize after his release for tenants rights and rehabilitating disused buildings for community centers and helping run a childcare. Sostre was a mentor to Lorenzo Komb’oa-Ervin and Ashanti Alston and laid important foundations for modern Black Anarchism in the US.
There’s a lot in here and we hope you enjoy the book and that the story inspires complex, creative and combative resistance to all forms of domination. The transcript for this chat is currently on the post and soon we’ll have a zine and pdf up on our zines page.
Rashid was “compacted” on May 1 to the Perry Correctional Institution in South Carolina, 430 Oaklawn Rd., Pelzer, SC 29669. His ID number in South Carolina is 397279.
In the transit van, he was severely injured – probably a broken bone – in his left leg. He has not been given any treatment for it.
He is in solitary confinement, with only a concrete slab to sleep on. He can make only one phone call per week. A comrade is helping him get onto the “GTL Getting Out” app so that he can communicate with everyone.
Meanwhile, he has been on hunger strike since he got there. He lost 17 pounds during the first week.
He appeals for maximum publicity and pressure.
The phone numbers listed for the prison are: 864-243-4700 and 803-737-1752.
Make calls and spread the word. Kevin “Rashid” Johnson, ID number 397279, must be treated humanely, given good medical care and a decent place to sleep and allowed full access to communicate with his lawyers and supporters. Tell the authorities to meet his demands so he can end his hunger strike.
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Featured Track
Standing At The Crossroad by Eddie and Ernie from Lost Friends
This week you’ll hear our chat with the author of Countering Dispossession: Reclaiming Land: A Social Movement Ethnography, the political ecologist David E Gilbert (not to be confused with the former Weather Underground prisoner in the US). For this episode, David and I speak about the book, the small community in south Sumatra, Indonesia known as Casiavera, the legacy of colonial land grabs, the people who live there and the agro-ecology of the rainforest at the base of the Arin volcano. You can find more of David’s work at https://DavidEGilbert.Com
Happy upcoming May Day, comrades known and unknown! I hope that wherever you are and whatever you do, you’re surrounded by siblings in love and struggle, you can take pleasure in the beauty of the world around you, take strength from our predecessors who share our vision of a life unencumbered by state / capital & the other anchors foisted upon our shoulders, and with the energy to create a path towards our desires
Ángel Espinosa Villegas
We had an interview scheduled with Ángel Espinosa Villegas, a trans masc butch dyke, formerly a 2020 uprising prisoner who was transferred to ICE detention for deportation, however the screws seem to have decided to escalate the deportation to Chile rather than let hir continue to speak to the media. Keep an eye out for upcoming interviews with Ángel, and consider checking out hir GoFundMe. At the end of this post there are some statements from Angel…
Supporting The Show
Hey listeners… we’ve had a string of early releases with more on the way coming out through our patreon for supporters at $3 or more a month, alongside other thank-you gifts. If you can kick in and help, the funds go to our online hosting, and creation of promotional materials like shirts and stickers, but MOSTLY to funding our transcription efforts. We hate to ask for money, but if you have the capacity to kick us a few bucks a month, either through the patreon or via venmo, paypal or librepay or by buying some merch from us (we have a few 3x, 4x & 5x sized tshirts in kelly green coming soon), we’d very much appreciate the support. We’re hoping to make a big sticker order in the near future.
If you need another motivator, the 15th anniversary of The Final Straw Radio is coming up on May 9th, 2025 and we are not above accepting birthday presents. That’s 15 years of weekly audio (albeit at the beginning it was more music than talk), including 8 of which 7 of which aren’t in our podcast stream (you can find some early show examples in this link _by skipping to the last page of posts on our blog).
Other ways to support us include rating and reviewing us on google, apple, amazon and the other podcasting platforms, printing out and mailing our interviews into prisoners, using our audio or text as the basis for a discussion of an ongoing movement, contacting your local radio station to get us on the airwaves, and talking about us to others in person or on social media.
Alright, capping this shameless plug!
Angel statements:
These are press statements and direct quotes that Ángel Espinosa-Villegas has provided from inside Prairieland Detention Center in Alvarado, TX, where she was held from April 1 to April 25, 2025. Ángel is currently in transfer to an undisclosed location, but has not been able to contact loved ones yet. These messages were received by loved ones on the outside throughout the past 3 weeks and she has given explicit permission to publicize these statements.
“We dance a lot, draw our hopes and homes on the walls of this place any way we can. We tell stories of home, hold each other past language barriers because we all know all too well what it’s like to be torn away from our families, hold onto hope, only for it to be crushed cruelly by these heartless fascist traitors. To remain utterly powerless at the mercy of the abusers of gluttonous power. People
are quite literally dragged out, hogtied, by these pirates that speak of protecting democracy yet dehumanize and humiliate us without so much as a look in our eyes before ripping us apart from our newfound friends, and, more distantly, our families we have here. They rob us of the little money we have and have no paths of recovery. They tell us clean water is a privilege and not a right. That
speaking to our families is a privilege. That seeing the sun is a privilege. That if we get too loud of this constant mistreatment, then we should get ready to eat mace.”
“Most people here don’t have the means to speak out against these human rights’ violations we face every day. But I will take any and every chance to fight, to expose the way they treat us that these human traitors have normalized.”
“This was supposed to never happen again. But here it is again. We need everyone demanding our freedom, to expose all the vultures robbing these vulnerable people of everything from money to merely see our families and small children. We’re not even allowed to say goodbye, to hug our children goodbye.
What madness is this? How is this STILL happening to us, I ask myself when I wake up. Is this country for the free? For those yearning for a safe, happy life? If this country and its people care about freedom and safety, then people should
refuse to let this government and administration work a second longer until they free us ALL.”
“A lot of women here are fighting their cases because they’ve been following protocol to obtain legal papers or asylum or were just rounded up randomly from racial profiling. One woman here lost her purse with all her money on a train and went to church to seek help. The church called ICE on her because she couldn’t speak English! Another woman here was late to her job and her boss called ICE
on her. Few of us have criminal records. Most were just following advice from their lawyers and continuing their appointments with ICE and USCIS to get their visa or temporary protected status or whatever it was they were doing. But because of Trump’s administration they’re all rounded up by ICE and deported.”
“I’m feeling alright, mostly numb since being locked up is so abusive and heart wrenching. Here… It’s a rollercoaster. I witness, every single day, cries of agony and anger and despair. I see people hogtied and dragged out. People being yelled at to gather their things and go into the unknown, being threatened with PREA for hugging as we say our goodbyes and well wishes. This place is much worse than prison in many ways. I hear guttural wails and sobs so many times a
day. It’s like being at a perpetual funeral; laying to rest this person’s life, that one’s dreams, the other’s hope. Knowing they’ll be inevitably harmed, kidnapped, sometimes disappeared or even killed when they go and we can do absolutely nothing.”
“We’re just hostages. Being one for so long now… I’m so hollow on the inside. I haven’t dropped any tears the last year and a half. I just can’t. Not even when I was sentenced. I don’t know how I’ll even begin to heal, but I sure as fuck ain’t ever gonna stop fighting. My hope and ambition to fight… I’ve just been refueling his entire time being down.”
“Fighting brings me solace. Helping others brings me solace, some
meaningfulness, a melting of stone in my petrified heart. I spend most of my time going around and helping people as much as I can; working the tablets, giving phone calls, cooking food, doing little chores and tasks for the older, sick, or disabled ladies.“
With love & solidarity,
Free All Dykes
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Featured Track:
Judas Goat by Filastine from Burn It (a benefit for Green Scare defendants)
Today we’re sharing an interview recorded this week with Gabriel Kuhn speaking about the West German urban guerrilla group the 2nd of June Movement, the book he co-edited on this subject entitled From Hash Rebels to Urban Guerrillas: A Documentary History of the 2nd of June Movement (from PM Press and Kersplebedb), the milieu from which it arose, how it compared to other groups at the time like the Red Army Faction, and some of the legacy of their critiques and interventions on radical politics in the autonomen movement and beyond.
For the hour we speak about the context from which the 2nd of June Movement grew (alongside the Red Army Faction, Revolutionary Cells and others) in the 1970’s, their goals and actions, the timing of the book and the legacy that these groups left to German society and the autonomous movements that continued.