We find inspiration in many places. For many people creating, listening, and talking about music is an inspiration that keeps the tumultuous happenings of everyday life somewhat at bay and is how we creatively express ourselves. Previously, an older TOTW focused on anarchist media of all sorts – whereas with this new topic, we would like to specifically focus on audio projects and music.
A lot of communities today are taking a hard stand against sexual harassment and assault. Using social media shaming, ostracism, professional excommunication, whatever punishment is painful enough to shift the moral code by brute force. Through one incident in the Richmond, Va. hardcore music scene, we chronicle a social media callout and ask what pain can accomplish.
For those unaware black metal has always had a neo-Nazi problem. Extreme music attracted people with an affinity for extreme politics. It being infused with macho bullshit and with the boom of neo-Nazi music outside of Oi around 90s black metal and other dark esoteric scenes became a hot bed for esoteric neo-Nazi activity. With neo-Nazis being forced out of the punk scene they retreated into noise, goth, martial industrial, neo-folk, and black metal scenes. Often the main differences between black metal and other genres like grindcore have to do with instrumentation in a small part, but largely have to do with aesthetics and themes. Another appeal of Nazi imagery is the dangerous aesthetic and since the Nazi project and other fascist projects have been in part the aestheticization of politics it only makes sense that where the aesthetic lives so does the ideology.
When I learned that the anarchist rapper Sole was having a kid, I reached out and asked if he wanted my child’s old crib. I confess: It was a ploy. I wanted to learn more of what Tim Holland was thinking these days.
He came over to the house to pick up the crib, and we spent two hours in my garden talking about music, politics, Roque Dalton’s revolutionary poetry and urban farming.
From Fifth Estate # 399, Fall, 2017 by Bill Weinberg
A former community center that hosted a youth rock scene is now being occupied by activists, seemingly ignored by the authorities. A few blocks away, urban farms are bright patches of green in the landscape, producing vegetables and fruits for the community.
Oakland? Detroit? Manhattan’s Lower East Side?
Nope. This is Havana.
From Freedom UK
There are many great things about Ian Glasper’s The Day the Country Died: A History of Anarcho Punk 1980–1984. First, it’s convenient and persuasive to be able to read about a number of related bands in the same book. Don’t have to search here and there for information. Second, it’s solid seeing an emphasis just on anarcho punk. Just like nothing can replace holding hard copy of a zine in your hands, nothing can substitute for a substantive book. Third, back in the day, if you were on the fringes of multiple scenes or were really localised, then there was no way to know all these bands. Yeah, you nodded your head, but there’s a difference between knowing names and knowing the sound and history.
From June 11th
Sing Me Home is an album of folk and country cover songs against prisons and the police. All proceeds from the album go towards benefiting long-term anarchist prisoners in tandem with the June 11th international day of solidarity.
These are the voices that sing through us, sing with us, sing us home. These songs are about killing guards and getting free, about the concreteness of prison walls and also how dream and memory are able to travel through those walls, about the pain of missing the ones you love and about the strength of solidarity. We hope that these songs become part of our lives and that singing them becomes a source of power.