#but. punk and anarchist are not synonyms

[235uranium]

ppl on tumblr love to say punk when they just mean ancom

[accursedthing]

Thinking about the book I was reading in my DDR research that was mostly centered on youth culture in the 80s that was honestly. Kind of gibberish as a piece of text. And it literally had a sentence that celebrated the East Berlin counterculture scene standing up to the state or whatever and described them as a rag-tag group of artists, anarchists, and "yes even neo Nazis" .... Now let's backtrack and talk more about that last part, hm?

[our-trans-punk-experience]

What does it really mean to be a "punk?" Is it a subculture? An ideology? Both? Something else?

It seems very interesting to me but I'm afraid that it'll turn into something where I have to sacrifice myself for the cause/scene/group or something. I'm not doing that. Period. I want to do stuff, you know? I want to fight. I want to make music. But I don't want to worship an idol of rigid Marxist analysis that asserts itself as the one true way of understanding our world as well as the one true moral framework. Not that I'm a big fan of morality anyways. I'm not joining The Christian Church 2.0. I'm not hanging with the bougie college kids who worship labor and workers.

I like anarchism because I want to do whatever I want. Period. It is a distinctly egoistic affair for me- think max stirner. That's not to say that I'm going to ignore critical theory stuff entirely (as I myself am a neurodivergent queer). I want to learn about the struggles of POC, queer people, neurodivergent people, et cetera so that I can resist against society and government. However, I don't want to be some kind of liberal politically-correct type that brings up their own identity in unrelated topics because they want to feel important. I'm not a twitter user.

I already know that I can do with concepts whatever I like. If I don't want to be "punk" then that's not going to stop me from being anarchist. People who feel the need to attach themselves to subcultures because they wanna feel correct and agreeable are fuckin' dweebs. What I want to know is what's in it for me. Why should I be "punk?"

OkOk tysm for being so engaged i love when ppl rlly are not afraid to grill me for information

1: Punk is a subculture, with a variety of politics in the scene, united by non-conformity and being anti-establishment / anti-authority.

2: You should in no way have to sacrifice anything about yourself, your style, or your politics to be punk. The whole idea is non-conformity so you do not have to meet any sort of criteria for style, music, or politics except the aforementioned [on a separate note i just answered an ask on punk politics, but could make another more in depth punk politics post on request].

2a: If someone on the scene gives you shit for enjoying showtunes and britpop alongside black flag and x-ray spex then that person is a wanker

2b: If someone in the scene gives you shit for wearing a battle vest with an mcr patch or a logo from a tv show you like alongside your eat the rich stitch-on then that person is a wanker

2c: if someone in the scene gives you shit for being punk in the "wrong way" then they are the one who doesn't understand what it means to be punk. they are, say it with me, a wanker

3: yeah dw, punk is not in any way synonymous w champagne socialist theory purists like you fear, its about action and small acts of resistance and mutual aid more than holding out on doing anything helpful bc it isnt a great communist revolution. we are the revolution

4: I like that you've done your reading. just as an aside.

5: yes I'd say esp nowadays (less so in the 70s) punk is a scene that has a strong focus on queer rights movement. The original punk focuses were more about class and race tensions, but as the subculture has evolved, the fight has become about standing up for anyone getting screwed over by the fuckers on top. you are in the right place for learning about the struggles facing multiple groups and how you can help them for sure

6: fear not, becoming a punk does not mean you have to join twitter

7: "I already know that I can do with concepts whatever I like." Good. You've got the hard part down already.

8: Your final point, on why you should be punk, has a bunch of different answers. Be punk bc its a great gender neutral term of address. Be punk because it'll make it easier for you to find cool ppl u get on with. Be punk bc we have good music. Be punk because DIYing your clothes is very rewarding. Be punk because it's an amazing community. Be punk bc tbfh you seem pretty punk already. You've sort of gone in reverse order to a lot of punks. You really have a good grasp on your own politics and philosophies, and you're clearly anti-conformist. If you want you can now work back into the music, the style, and immersing yourself in the subculture. We would love to have you

Do whatever you like, hope this was helpful

in solidarity :]

[k00294467]

Artist Research- Jamie Reid

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Jamie Reid is a British artist and anarchist who gained prominence for his significant contributions to the visual aesthetic of the punk rock movement in the 1970s. He is best known for his iconic artwork created for the Sex Pistols, including the design for the "God Save the Queen" single cover and the "Anarchy in the UK" poster. Reid's work often incorporates collage, ransom note-style lettering, and political imagery, reflecting his rebellious and anti-establishment ethos. His art played a crucial role in shaping the punk subculture and continues to influence contemporary visual culture.

Jamie Reid and The Clash were deeply rooted in the London punk scene of the 1970s, with Reid's artwork becoming synonymous with the movement and The Clash emerging as one of its most influential bands. Their shared geographical and cultural background further solidifies the connection between Reid's work and The Clash's music, illustrating their mutual engagement with themes of rebellion, social commentary, and the punk ethos of challenging the status quo.

----------------------------------------------------

[mariacallous]

For 20 years, the only way to really communicate privately was to use a widely hated piece of software called Pretty Good Privacy. The software, known as PGP, aimed to make secure communication accessible to the lay user, but it was so poorly designed that even Edward Snowden messed up his first attempt to use PGP to email a friend of Laura Poitras. It also required its users to think like engineers, which included participating in exceptionally nerdy activities like attending real-life “key-signing parties” to verify your identity to other users. Though anyone could technically use PGP, the barrier to entry was so high that only about 50,000 people used it at its peak, meaning that privacy itself was out of reach for most.

These days, to talk to a friend securely, all you have to do is download a free app. For a certain set, that app will be Signal. Snowden and Elon Musk have recommended it; it’s been name-dropped on big-budget shows like House of Cards, Mr. Robot, and Euphoria, and its users include journalists, members of the White House, NBA players, Black Lives Matters activists, and celebrities trying to get their hands on Ozempic. Its founder has been profiled by The New Yorker and appeared on Joe Rogan’s podcast. A tiny organization with virtually no marketing budget has become synonymous with digital privacy in the public imagination.

Technology can be deeply shaped by the personal inclinations of a founder. Facebook’s light-fingeredness with user data is inseparable from its roots in Zuckerberg’s dorm room as an app for ranking women by their looks; Apple’s minimalist design was influenced by Jobs’ time spent practicing Zen Buddhism. Signal is no different. During its formative years, the charismatic face of Signal was Moxie Marlinspike, a dreadlocked anarchist who spent his time sailing around the world, living in punk houses, and serving free food to the unhoused. He led every aspect of Signal’s development for almost a decade, at one point complaining,  “I was writing all the Android code, was writing all of the server code, was the only person on call for the service, was facilitating all product development, and was managing everyone. I couldn’t ever leave cell service.”

In the field of cryptography, Marlinspike is considered the driving force behind bringing end-to-end encryption—the technology underlying Signal—to the real world. In 2017, Marlinspike and his collaborator, Trevor Perrin, received the Levchin Prize, a prominent prize for cryptographers, for their work on the Signal Protocol. Afterward, Dan Boneh, the Stanford professor who chaired the award committee, commented that he wasn’t sure that end-to-end encryption would have become widespread without Marlinspike’s work. At the very least, “it would have taken many more decades,” he said.

The motivations that led to end-to-end encryption going mainstream lie far out on the political fringe. The original impetus for Marlinspike’s entry into cryptography, around 2007, was to challenge existing power structures, particularly the injustice of how (as he put it) “Internet insecurity is used by people I don’t like against people I do: the government against the people.” But sticking to anarchism would imply an almost certain defeat. As Marlinspike once noted, the “trail of ideas that disappears into the horizon behind me is completely and utterly mined over with failures … Anarchists are best known for their failures.”

For an idealistic engineer to succeed, he will have to build something that is useful to many. So there has also been an unusually pragmatic bent to Signal’s approach. Indeed, in many interviews, Marlinspike has taken a mainstream stance, insisting that “Signal is just trying to bring normality to the internet.” Signal’s success depends on maintaining its principled anarchist commitments while finding a wide-ranging appeal to the masses, two goals that might seem at odds. Examining how the app navigates this tension can help us understand what might come next in Signal’s new quest to reach “everyone on the planet.”

Released after WhatsApp  set the standards for messaging, Signal’s problem has always been how to keep up with its competition—a fine dance between mimicry (so as to seem familiar to new users) and innovation (to poach users from its competitors). Signal started off by copying WhatsApp's user experience, while at the same time pioneering end-to-end encryption, a feature that WhatsApp turned around and copied from Signal. Throughout this evolutionary dance, Signal has managed to maintain an unusual focus on the autonomy of the individual, a wariness of state authority, and an aversion to making money, characteristics that are recognizably anarchist.

Because a small fringe of cypherpunks, Marlinspike included, came to see cryptography as a way to remedy the imbalance of power between the individual and the state, Signal focused on getting end-to-end encryption on messages and calls absolutely right. With Signal, no one can read your messages. Amazon can’t, the US government can’t, Signal can’t. The same is true for voice calls and metadata: A user’s address book and group chat titles are just as safe. Signal knows basically nothing about you, other than your phone number (which is not mapped to your username), the time you created your account, and the time you last used the app. Your data can’t be sold to others or cause ads to follow you around on the internet. Using Signal is just like talking with your friend in the kitchen.

Because Signal is committed to retaining as little metadata as possible, that makes it hard for it to implement new features that are standard to other apps. Signal is essentially footing the cost of this commitment in engineer-hours, since implementing popular features like group chats, address books, and stickers all required doing novel research in cryptography. That Signal built them anyway is a testament to its desire for mass appeal.

Signal also pioneered features that gave individuals more autonomy over their information, such as disappearing messages (which WhatsApp later adopted) and a feature that let users blur faces in a photo (which it rapidly rolled out to support the Black Lives Matter protests). At the same time, Signal has garnered users' trust because its code is open source, so that security researchers can verify that its end-to-end encryption is as strong as the organization claims.

For the ordinary user, though, individual autonomy and privacy may not be as important. On WhatsApp, users accept that it will be very hard to figure out what exactly the app knows about you and who it might be shared with. Users’ information is governed by an ever-shifting labyrinth of grudging caveats and clauses like “we will share your transaction data and IP address with Facebook” and “we can’t see your precise location, but we’ll still try to estimate it as best as we can” and “we will find out if you click on a WhatsApp share button on the web.” WhatsApp is also closed-source, so its code can’t be audited. If using Signal is like talking in a friend’s kitchen, using WhatsApp is like meeting at a very loud bar—your conversation is safe, but you’re exposed, and you’ll have to pay for your place.

If you’re not an anarchist, you may be less worried about a shadowy state and more worried about actual people you know. People in your community might be harassing you in a group chat, an abusive ex might be searching your chats for old photos to leak, or your child might have gotten access to your unlocked phone. WhatsApp’s features better support a threat model that is sensitive to interpersonal social dynamics: You can leave groups silently, block screenshots for view-once messages, and lock specific chats. WhatsApp can even view the text of end-to-end encrypted messages that have been reported by a user for moderation, whereas Signal has no moderation at all.

Idealists have called centralization one of the main ills of the internet because it locks users into walled gardens controlled by authoritarian companies. In a great stroke of pragmatism, Signal chose to be centralized anyway. Other encrypted-messaging apps like Matrix offer a federated model akin to email, in which users across different servers can still communicate through a shared protocol. (Someone on Gmail can still email someone on Yahoo, whereas someone on Facebook Messenger can’t contact someone on Signal.) This federated approach more closely mirrors anarchy; it could theoretically be better, because there would be no single point of failure and no single service provider for a government to pressure. But federated software creates a proliferation of different clients and servers for the same protocol, making it hard to upgrade. Users are already used to centralized apps that behave like Facebook or Twitter, and email has already become centralized into a few main service providers. It turns out that being authoritarian is important for maintaining a consistent user experience and a trusted brand, and for rolling out software updates quickly. Even anarchism has its limits.

What Signal has accomplished so far is impressive. But users famously judge software not on how much it can do, but on how much it can’t. In that spirit, it’s time to complain.

Because of Signal’s small team, limited funding, and the challenges of implementing features under end-to-end encryption, the app bafflingly lacks a number of important features. It doesn’t have encrypted backups for iOS; messages can only be transferred between phones. If you lose your iPhone, you lose all your Signal chat history.

Signal also doesn’t do a good job serving some of its core users. Activists and organizers deal with huge amounts of messages that involve many people and threads, but Signal’s interface lacks ways to organize all this information. These power users’ group chats become so unwieldy that they migrate to Slack, losing the end-to-end encryption that brought them to Signal in the first place. It’s common to try and make multiple group chats between the same people to manage all their threads. When users are hacking “desire paths” into your interface to create a new feature, or leaving because of the lack of the feature, that’s a strong hint that something is missing.

WhatsApp and Telegram, on the other hand, are leading the way on defining how group chats can scale up. WhatsApp “communities” gather different private group chats in one place, better mimicking the organization of a neighborhood or school that may be discussing several things at once. Telegram’s social media “channel” features are better for broadcasting info en masse, though Telegram’s lack of moderation has been blamed for attracting the kind of fringe crowd that has been banned from all other platforms.

It's no exaggeration to say that small features in a chat app encode different visions of how society should be organized. If the first reacji in the palette was a thumbs down rather than a heart, maybe we would all be more negative, cautious people. What kind of social vision did Signal arise from?

“Looking back, I and everyone I knew was looking for that secret world hidden in this one,” Marlinspike admitted in a 2016 interview. A key text in anarchist theory describes the idea of a “temporary autonomous zone,” a place of short-term freedom where people can experiment with new ways to live together outside the confines of current social norms. Originally coined to describe “pirate utopias” that may be apocryphal, the term has since been used to understand the life and afterlife of real-world DIY spaces like communes, raves, seasteads, and protests. And Signal is, unmistakably, a temporary autonomous zone that Marlinspike has spent almost a decade building.

Because temporary autonomous zones create spaces for the radical urges that society represses, they keep life in the daytime more stable. They can sometimes make money in the way that nightclubs and festivals do. But temporary autonomous zones are temporary for a reason. Over and over, zone denizens make the same mistake: They can’t figure out how to interact productively with the wider society. The zone often runs out of money because it exists in a world where people need to pay rent. Success is elusive; when a temporary autonomous zone becomes compelling enough to threaten daytime stability, it may be violently repressed. Or the attractive freedoms offered by the zone may be taken up in a milder form by the wider society, and eventually the zone ceases to exist because its existence has pressured wider society to be a little more like it. What kind of end might Signal come to?

There are reasons to think that Signal may not be around for very long. The nonprofit’s blog, meant to convince us of the elite nature of its engineers, has the unintentional effect of conveying the incredible difficulty of building any new software feature under end-to-end encryption. Its team numbers roughly 40; Marlinspike has just left the organization. Achieving impossible feats may be fun for a stunt hacker with something to prove, but competing with major tech companies’ engineering teams may not be sustainable for a small nonprofit with Marlinspike no longer at the helm.

Fittingly for an organization formerly led by an anarchist, Signal lacks a sustainable business model, to the point where you might almost call it anti-capitalist. It has survived so far in ways that don’t seem replicable, and that may alienate some users. Signal is largely funded by a big loan from a WhatsApp founder, and that loan has already grown to $100 million. It has also accepted funding from the US government through the Open Technology Fund. Because Signal can’t sell its users’ data, it has recently begun developing a business model based on directly providing services to users and encouraging them to donate to Signal in-app. But to get enough donations, the nonprofit must grow from 40 million users to 100 million. The company’s aggressive pursuit of growth, coupled with lack of moderation in the app, has already led Signal employees themselves to publicly question whether growth might come from abusive users, such as far-right groups using Signal to organize.

But there are also reasons for hope. So far, the most effective change that Signal has created is arguably not the existence of the app itself, but making it easy for WhatsApp to bring Signal-style end-to-end encryption to billions of users. Since WhatsApp’s adoption, Facebook Messenger, Google’s Android Messages, and Microsoft’s Skype have all adopted the open source Signal Protocol, though in milder forms, as the history of temporary autonomous zones would have us guess. Perhaps the existence of the Signal Protocol, coupled with demand from increasingly privacy-conscious users, will encourage better-funded messaging apps to compete against each other to be as encrypted as possible. Then Signal would no longer need to exist. (In fact, this resembles Signal’s original theory of change, before they decided they would rather compete with mainstream tech companies.)

Now, as the era of the global watercooler ends, small private group chats are becoming the future of social life on the internet. Signal started out a renegade, a pirate utopia encircled by cryptography, but the mainstream has become—alarmingly quickly—much closer to the vision Signal sought. In one form or another, its utopia just might last.

[omagazineparis]

Éditorial "Western Blues" par Soraya Essabar

Pull bleu mohair et laine MARNI , Jupe en polyurethane MARNI, Santiag SHONE ET BACARDI Veste et jupe VIVIENNE WESTWOOD, Santiag SHONE ET BACARDI Veste et jupe VIVIENNE WESTWOOD, Santiag SHONE ET BACARDI Veste et jupe VIVIENNE WESTWOOD, Santiag SHONE ET BACARDI Poncho laine et alpaca JACQUEMUS , Pantalon MARNI , Santiag et chapeau SHONE ET BACARDI Éditorial Western Blues Styliste: Soraya ESSABAR @sostylist Photographe: Maude ROODIER @roodier Assistants: Soline DIREZZ @soline.di Muah: Alexia @alexia.makeupandco Mannequin: Elodie SE @elodie.se_ Le Lieu Studio: Women Lyon Photo de couverture: Poncho laine et alpaca JACQUEMUS , Pantalon MARNI , Santiag et chapeau SHONE ET BACARDI Vivienne Westwood, une icône de la mode britannique, incarne l'esprit de la rébellion, de l'audace et de l'individualité depuis plus de quatre décennies. Fondée par la créatrice éponyme et son partenaire Malcolm McLaren dans les années 1970, la marque Vivienne Westwood est devenue synonyme de style provocateur et de design avant-gardiste. L'un des aspects les plus distinctifs de la marque est son mariage réussi entre l'esthétique punk et le luxe. Westwood a émergé au cœur du mouvement punk à Londres, où elle a puisé son inspiration dans l'effervescence culturelle et politique de l'époque. Ses premières créations, notamment des vêtements déchirés, des clous, des chaînes et des symboles anarchistes, ont bousculé les conventions de la mode traditionnelle et ont incarné l'esprit rebelle de la jeunesse. Au fil des années, Vivienne Westwood a élargi son influence pour devenir une figure emblématique de la mode internationale. Ses collections ont évolué pour incorporer des éléments historiques, artistiques et culturels, tout en conservant une touche de subversion caractéristique. Des pièces emblématiques telles que le corset à la taille accentuée, les imprimés audacieux et les coupes avant-gardistes continuent de défier les normes et d'inspirer une clientèle diversifiée à travers le monde. La durabilité et l'activisme sont également au cœur de la marque Vivienne Westwood. La créatrice elle-même est une fervente militante pour de nombreuses causes, notamment la protection de l'environnement et les droits de l'homme. Sa marque reflète cet engagement à travers des initiatives telles que la production éthique, l'utilisation de matériaux durables et la sensibilisation aux problèmes sociaux et environnementaux. En termes de produits, la marque Vivienne Westwood propose une gamme variée allant des vêtements pour hommes et femmes aux accessoires, aux chaussures et même aux lignes de parfums. Chaque pièce incarne l'audace et l'individualité qui sont les marques de fabrique de la marque, tout en offrant une qualité et un savoir-faire exceptionnels. En résumé, Vivienne Westwood est bien plus qu'une simple marque de mode ; c'est un véritable phénomène culturel. Son héritage de rébellion, d'innovation et d'engagement en fait une force incontournable dans l'industrie de la mode contemporaine, tout en continuant d'inspirer et de défier les conventions à chaque nouvelle collection. Read the full article

[dissothings]

RESEARCH -- Situationist International (SI)

The Situationist International (1952-1972) was a group - emerged from Lettrism, which was inspired by Dadaism, Surrealism, and Marxism, that was made up of  artists, intellectuals, and political theorists, based in Paris. They brought together different ideas and media to explore various and new techniques of engagement in cultural protest and revolutionary praxis. They experimented with the concept of creating situations which fulfils a particular desire. A development of a critique of capitalism based on a mixture of Marxism and surrealismThe SI have shaped the  the relationship between art and politics in postwar culture, including ones in 1968 and 1977. They published a journal called Internationale Situationniste (IS) and also had two other texts that was published by members of the SI to understand the theory better - The Society of the Spectacle by Guy Debord and The Revolution of Everyday Life by Raoul Vaneigem.

The movement did not produce a lot of artworks, but the theories and concepts that were developed by the SI has impacted many art movements for a long time, and ideas are still evident in some pieces. it has basically rejected all kinds of art movements that were ‘autonomous and detached from politics. Some stuff they did were the psychogeography, performance art and graffiti. Public spaces were used and altered to spread their messages to the public (protest themes). Some other techniques that developed in the works of the SI were détournement, collage and hypergraphy. The misappropriation of contents (comics, posters and publications), covering up existing art and merging texts and graphics are still apparent in today’s works - and this includes protests, virtually and physically. As mentioned, the SI influenced the May 1968 demonstrations, which some of the members participated in the occupations and protests. The graffiti that was visible in Paris used direct quotes from Debord’s The Society of the Spectacle and paraphrasing some ideas of the SI. The SI also influenced many ‘anarchist’ cultures of punk and cyberpunk and many art and postmodern theories. These methods that were initiated by the members of the SI were popularized by the punk subculture and has been synonymous to them. The emergence of punk subculture was inspired by the SI, establishing many visual parallels and also having the same ideologies - Malcolm McLaren embraced situationist ideas, clothes designed by Vivienne Westwood and artworks by Jamie Reid.

Psychogeographique de Paris - Guy Debord, 1957

New Babylon/Sevilla TRIANA-GROEP - Constant Nieuwenhuys, 1965

Asger Jorn - Letter to my Son, 1956-7

Situationist Détournement

Isidore Isou - Hypergraphie, 1964

Mémoires - Asger Jorn, 1959

[ceasarslegion]

They say that smell is the best memory trigger, but I actually stim through audio, so I tend to strongly associate certain songs with memory, usually because I listened to it a lot at certain intervals. 8tracks got taken down, and I’m not paying for Spotify, so I guess I’m posting my list and the explanations here. It’s like my life in music! I’m gonna do 5 for now, and build up more later.

1. Give Up the Grudge: I used to live with my grandparents, my parents, and my uncle all in the same house. My parents had me really young, because I was a product of accidental teen pregnancy, so my uncle’s only 10 years older than me. He gave me all his old pop punk CDs when he was around 17, and this was the first song on the first CD I listened to, uncensored. It was so scandalous to me at the time, I loved it, and the fact that it got me in trouble only made me love it more. Thus why punk’s been the one constant in my absolutely outrageous music taste.

2. Teenage Dirtbag: oooh, this one’s special. This was my high school anthem, basically. My friends and I listened to it constantly, were always singing it together, everything. Road trips to Muscat were serenaded by Wheatus-fueled carpool karaoke. Camping trips in the desert got us noise complaints from the local farmers from us howling it at the top of our lungs. This is the warm Abu Dhabi breeze during night walks in Yas Park and the revving of motorcycle engines while we sped down to the corniche to eat ice cream on the beach; the scratchy fabric of our school uniforms, the smell of the practice rooms outside the band classroom I would jam in at lunch, the way the drama studio echoed a little too much, the announcement that I won the student council presidency in the 12th grade, and games of frisbee in the main courtyard that would get us yelled at by the guard because we were supposed to be going to class. This one’s special.

3. Mr. Brightside: I worked really shitty hours after high school. I had a full-time job writing the film column at a local pop culture magazine where I saved up for misc. uni expenses like food and rent, and by night I did musical theatre with a local cast dedicated to bringing the Broadway experience to the Middle East. On top of that, it was an hour’s commute into the city by bus because of how shitty the public transit is there. In short, I left home at 7am, and didn’t come back until 10pm if we didn’t go out after rehearsal. 17-19 year-old me slept on the bus and was fueled by red bull and ambition. But for some reason I always listened to Mr. Brightside when night fell and I watched the city lights go by, and there’d be maybe 3 people on that bus by that time of night. It was calm, serene, and if you’ve ever seen the Abu Dhabi skyline at night, it’s very calming. Mr. Brightside reminds me of that feeling. Even my nose feels wet because of how humid it is over there.

4. True Trans Soul Rebel: I mean, there was a dark side to it. It’s illegal to be LGBT+ there, and punishable by death on the books. Imagine what it’s like growing up there as a trans man who knows he might be killed and his family deported if he gives any indication. They monitor what you do online and track everything you say, so I had no one, and nothing. Until I was listening to Welcome To Night Vale while napping in the sun at the community pool, and Cecil puts this on as the weather song. I immediately sat up, and hit the download button on my podcast app so I could have this. In all this darkness and bigotry and fear I was living in the thick of, I had an episode of Night Vale that aired this as the weather song, which was just enough of a buffer to keep me relatively safe from the government. It wasn’t much, but it was a rope to grasp onto that told me I had a future after all this when I felt like it was hopeless. I’ve done everything from sob into my pillow at night to this song to bop to it when it comes on now that I’m in a safe place where I can be myself.

5. I Was A Teenage Anarchist (CW for police brutality): It’s no secret that the geopolitics of the Middle East aren’t exactly... chill. And you can’t talk about politics there. You just don’t. If you say you don’t agree with the Sheikh or mention the word Qatar there, you can get thrown in jail for political dissidence. And me, I’m an aggressive person. I almost always choose fight if it’s fight or flight. God has cursed me with righteous fury and I’ve decided to make that the state’s problem. So growing up seeing what I saw in authoritarianism, when my political views developed, I flipped to anarchism. This song and its music video was actually the first I’d ever heard that term mentioned outside of a synonym for societal collapse, and the portrayals it gives here started making me question things, because it looked a lot like what policing did at home. It didn’t make me an anarchist, but it certainly handed me a chisel and sat me down in front of the wall of propaganda that had been built in my subconscious by the state. And when I did come here, I came with a vengeance. I run with Toronto Against Fascism, I go to as many rallies and political activism as I can, and, well... I’ve never seen the back of a cop. Extrapolate from that what you will.

[hellzyeahthewebwieldingavenger]

Nordic neopaganism and Nazism had being associated since the foundation of the party,hell it is not the first time that Marvel drank on that connection, therefore a story about black punk dude that defends an Anarchist community that have a "Not kings or gods" rule would obvious face off against someone who worship in a religion that have very well documented connections with Hitler and his generals

I get that.

But Nordic beliefs pre-date Nazism. It’s unfair and reductive to actual people following that religion who are NOT Nazis and don’t believe in white supremacy to blithley portray someone connected to that as a Neo-Nazi when you consider the character in canon was absolutely not a Nazi whatsoever. Nor is Thor himself in fact. Or any of the Norse characters.

You cannot treat the Norse relgious beliefs as synonymous with Nazism, rather than Nazis used that stuff for their own ends, anymore than you can claim Christianity = the Ku Klux Klan or the Muslim religion = ISIS or Al Queda. 

[biracy]

Okay so like I've done a little bit of research (as much as I can in like half an hour on Google lmao) BUT I still don't really think that "punk rock" is or was ever intended to be Literally Synonymous with "gay/fag/etc. rock". Yes, you CAN find instances of "punk" being used to mean "bottom" or "bitch" or generally "faggot" (particularly in AAVE) starting around the 1930s, but it was ALSO during this time that the definition of "punk" as "juvenile delinquent" or "petty criminal" came up. I can't really find any sources that definitively cite the "bottom" meaning with the etymology of "punk rock." When people started calling 60s garage bands and 70s early punk bands "punk", it was in the context of their "hard-edge sound" (Greg Shaw for Creem), and another early term for the genre was "street rock." A lot of "classic punk" is very bare-bones musically and working-class visually, and punk is famously anti-establishment and often even anarchist. That's the reputation that punk rock had when "punk rock" was being named. I think using "punk" to mean "gangster" or "criminal" makes a Lot more sense than basically using it to mean "sissy" given this context, especially if you look at how "punk" was being used in other media from this time period.

This isn't to say that there was NEVER an overlap between who was a faggot and who was a punk, or that gay people haven't historically been Massive influences on punk and its subgenres. A LOT of artists who were considered "punk" when it was first developing WERE branded as "flamboyant" or "theatrical," which they could either choose to embrace or reject. There's a Jayne County quote in the book Rock & Roll: An Unruly History where she talks abt how Alice Cooper (who was described as "punk" in Rolling Stone) "had to stop wearing ladies' sling-back shoes and false eyelashes and dresses and get more into horror ... [Americans] couldn't understand male/female sexuality, androgyny... or, as little American boys would say, 'fag music.'" There was definitely an association between the two cultures, especially as more genderfucky subcultures came up, and LGBT people are extremely important to the history of punk rock, but that doesn't necessarily mean the two were ever considered synonymous. Contrary to what people on here like to believe, punk is not and has not ever been some kind of bigotry-free utopia of a subculture, and there are plenty of homophobic punks. Punk, just like metal, can and has been criticized for associating its trademark emotion, anger, with aggressive displays of masculinity. It COULD allow for a lot of gender non-conformity, but also it could restrict it. There is a reason movements like "queercore" and "homocore" exist, specific offshoots of the punk movement that focus on LGBT people and whose songs often directly critique other punks lmaooo. Not everyone who made queercore songs was necessarily gay themselves - I think if "punk rock" had always meant "gay rock", there would not need to be a specific subgenre term for punks who were gay or punks who were allies. The history gay people have in punk subcultures is very long and very important, but I do not think it involves punk rock being named after a term that "basically just meant faggot"

So basically all of this is to say no, I do not think there is a universe where it's called "Cyberfaggot 2077." Sorry.

Is there like. literally anything to back up that post that claims that "punk" and "faggot" used to be synonymous and that "it might as well be called 'faggot rock'" or whatever. Bc like I was just thinking abt it and idk how true that sounds

[nebuleuse-mirobolante]

Est ce que l'anticonformisme sociétale actuel en généralisation ne serait pas plutôt une forme de dogme pseudo rebelle ,une doctrine incitant la population à rentrer dans un autre forme de moule qui serait antisystème ?

Je suis Nébuleuse et ne me suis jamais sentie conformiste mais j'ai deja essayer de me forcer excessivement à rentrer dans un mouvement anticonformiste faux et biaisé par un rôle de pseudo révolutionnaire. 

L'anticonformisme actuel et rependu serait de fumer du cannabis ,d'être forcément athé,de fréquenter les rave party et de porter des centaines de tatouages tous ressemblants et éphémères dans la tendance .

J'avoue que j'aime délibérément les tatouages mais je ne pense pas chercher dans l'absolu à m'affirmer rebelle .

Il y à dans mes dessins des choses symboliques mon vécu,de mes cicatrices extrêmement profondes ,troublantes ,

gandioses comme abominables.

Il y à egalement des symboles que j'aime comme les extraterrestres,les ovnis ,les coquelicots ,les spirales ,les arc en ciels et les nuages .

Au fond l'anticonformisme actuel ne serait pas une immense arnaque ?

L'anarchie devient alors presque tendance pour certains groupes et rejeter avec ardeur toute croyance est devenu une mode au détriment de toute âme pieuse profondement ouverte d'esprit et libre penseuse malgré sa foi qui serait censée l'enfermer selon ces derniers .

Le libre penseur serait ce forcément un néo hippie avec une guitare,une cigarette roulée,un pétard,un sarouel qui chante des chansons engagés avec pour la plupart la même intonation du style Renaud,en prônant l'athéisme ?

La libre pensée ne serait ce pas plutôt  le résultat d'un cheminement qui laisserait le choix de croire ou de ne pas croire sans imaginer forcément que la foi est une prison mais qu'au contraire elle peut-être liberté pour certains êtres ?

Nous vivons dans un monde fait de carcans ,de dogmes dans lesquel l'antisysteme est un système et si vous sortez du système et de l'antisysteme vous êtes un ovni voir même un paria mutant et monstrueux. 

Je dois parfois expliquer pendant un quart d'heure que je fume réellement des plantes medicinales achetées dans des herboristeries sans sous-entendu ou mensonge comique de ma part .

En vérité tant de monde consomme avec ferveur indéniable du cannabis .

Le cannabis est la plante de la majorité. 

J'en ai fumer comme tout le monde et j'ai aimer comme tout le monde mais cette herbe aussi divine pour certaines personnes qu'infame pour d'autres m'a détruite.

Je continuais alors à me forcer car étant artiste je cherchais à rentrer dans un dogme .

Ce n'était pas celui de la racaille mais plutôt de l'artiste cool ,branchée ,détendue,excentrique,hippie et droguée. 

Il y à dans le sociétale une terrible injonction à l'appartenance sur laquelle je défèque désormais toutes mes rimes et mes intestin de mots .

Je n'appartient qu'à moi-même .

J'ai épouser le Christ sans aller souvent l'église et ignorer toute idée de couvent .

Je suis féministe et j'aime les femmes et les hommes sans porter plusieurs piercing ,un tas tatouages tête de mort et de sac à dos avec marquée sorcière en anglais dessus en plus de cheveux lisses bleu et rasé . 

D'ailleurs cette société accuse sans cesse par des suppositions biaisées mais pourtant banalisées et anodines.

Être gay c'est forcement aimer le sodomie.

Porter un foulard c'est être musulmane 

Être étudiant en art c'est être de gauche

 

Être gros c'est aimer manger des quantités énormes tout les jours

Et même si c'était le cas ?

Où est le problème ?

Et être maman serait incompatible avec le fait d'être sensuelle?

Fumer une grosse cigarette c'est fumer du cannabis ?

N'avoir aucun diplôme est synonyme d'avoir foutu un bordel monstre  à l'école 

Regarder de travers c'est être forcément un con? 

Et quelqun qui n'est pas d'accord avec vous mériterais de mourir par sélection naturelle quand un jeune homme noir avec une casquette et un habillement Adidas deale forcement et agresse des vieilles dames .?

Cliché. 

Toujours cliché.

J'ai alors inventer ma propre révolution .

Je m'appele Nébuleuse. 

Je ne viens pas de Mars .

J'ai inventer mon propre lieu de naissance cosmique qui est une étoile mirobolante. 

J'adore m'allumer des gros joints d'aubepine et croyez moi que ça ne court pas les rues .

Je m'habille de toutes les couleurs ,avec des nœud papillons ,mélangeant le punk ,le hippie ,le rétro 50,60 mais surtout le cosmique clown arc en ciel

J'adore l'aubépine 

Votre porte feuille et votre esprit irait sûrement bien 

 mieux si vous preniez tout les jours de l'aubepine sans modération ou presque au lieu de vous enfiler du lexomil à haute dose ,des bières,du whisky ou du cannabis à outrance.

Je ne juge personne et je comprend totalement ce besoin de s'enivrer de façon dangereuse ou illégale ou les deux car je suis passée par là et par moments je suis encore profondément dedans mais par pitier n'en faites pas une fierté d'adolescent stérile. 

Ça,c'est terriblement conformiste en plus.

.

Vous n'aurez pas de grosse défonce avec ces plantes d'herboristerie mais votre cerveau irait bien mieux et vous aurez également des effets de relaxation vraiment agréable, certe moins forts ,mais avec un prix tellement plus délicieux en étant 10 fois  plus abordable ou même plus .

Les gens seraient interpellés par la plante  inhabituelle en cigarette,que vous consommez même si ils et elles ne vous croiraient pas au début. 

Les discussions s'ouvriraient plus facilement car l'inconnu fait peur mais l'inconnu fascine également les saltimbanques les plus intéressants voir parfois même splendides. 

Nous apprenons alors que l'anticonformisme n'est pas un manuel de libre penseur rédigé par des anarchiste punk étriqué envers toutes croyances, pensant également dur comme fer que seul un fragile ne saurait pas faire un pogo ou un neo hippie pro cannabis voulant éradiquer absolument tout les médicaments sans exception. 

L'anticonformisme n'est pas une idée ni une liste de codes .

C'est un livre qui est dans votre esprit. 

Il est vierge et s'écrit spontanément au fil des pages,dans l'humilité,l'amour ,la révolte intelligente ,la grande colère,la réflexion,la remise en question ,la fierté ,la tolérance. 

Il n'y a pas de règles de grammaires spécifiques ni de mots-clés à respecter.

C'est un livre qui danse .

Ses pages dansent en faisant danser et hurler tout votre être en chaleur en pleine orgasme , car ce livre qui est la plus belle partie de jambe en l'air s'appelle liberté éternelle.

Nébuleuse

[thedrown]

Bad Luck and a Bank Robber- Jin Shen

  Originally from Fujian China, Jin Shen immigrated with his mother to Spain as a child settling in Catalonia's Chinese community. Their apartment was small and cramped nestled in a complex that housed countless other families many of which were trafficked in illegally by the Triads. They would bring families over and employ them only to take most of their pay making them essentially wage slaves and while she always assured him otherwise, Shen's mother was one such victim. The poverty, difficulty adapting to the vastly different culture, and Triad choke hold all defined his childhood and by the time he was a preteen he was flunking school ditching instead to form his own gang to counter the Triads he'd come to hate. Being only kids his small "gang" of middle schoolers were surprisingly adept at hit and run thefts but when their criminal targets had had enough of their games Shen's gang quickly ran back home to parents begging forgiveness. Disgusted to see his mother bend to the gangsters he took a kitchen knife and attempted to stab one of the men only to be slapped away and beaten. 

 Hating his own weakness and ingrained with the dog eat dog mentality that the only way to get ahead was to take what you couldn't get, he left his home and headed for a new start bent to build his own gang to grow in hopes of returning to enact vengeance on the Triads. To this end he went to the semi autonomous city Makina-Hiria in Euskadi knowing their anarchistic society and administration made it the perfect place to start his own criminal empire. He rallied other young Chinese teens, some immigrants some not, and formed the Tong Long Triad whose name and green outfits made them the laughing stock of the Residential Quarter’s many colour gangs, that is until their numbers grew to the point of them starting a turf war. Born in and controlling the Wharf area they fanned out quickly into the rest of Residential dominating the immediate blocks around the Wharf while sending out members to strike hard and fast at the smaller colour gangs across the entire district. Since then colour gangs are few and far between with the majority being taken over or absorbed into the Tong Long as the once small group has become one of the biggest gangs in the city with an all too enthusiastic Shen at the head. The garishness of their dress code and intentional playing up of stereotypes is all to a point. Shen uses the ignorance of those outside the Wharf to his advantage dually making rivals underestimate their threat as they quietly weave themselves across the Quarter, as well as conversely using “kung-fu” and various old Chinese weapons smuggled in to create an image of elite fighters when most are no different than any other street thug. Understanding what grandstanding gets you, the Tong Long instead choose to play the fool everyone ignores as their counterparts weaken each other and make themselves for an easy kill...

 With his more experienced cool headed second in command Nine Gates and bubbly bodyguard Jiangshi by his side, Shen now seeks to raise as much money as possible through underground fighting, gambling, extortion, and the ever present theft that a green suit or changsam have become synonymous with in Residential. Yet even with their influence the wannabe Triad is full of a young punks and thugs who seldom can hold their own and their sloppiness has still earned them the mocking nickname of the "Mantis Mafia." But to Shen, any willing to prove their spirit to endure will be rewarded when his world comes to fruition through his unyielding determination: a place for them and only them with no sympathies for those who “choose” to remain in their pitiful station, be they countrymen or foreigner alike.

[omagazineparis]

Éditorial "Western Blues" par Soraya Essabar

Pull bleu mohair et laine MARNI , Jupe en polyurethane MARNI, Santiag SHONE ET BACARDI Veste et jupe VIVIENNE WESTWOOD, Santiag SHONE ET BACARDI Veste et jupe VIVIENNE WESTWOOD, Santiag SHONE ET BACARDI Veste et jupe VIVIENNE WESTWOOD, Santiag SHONE ET BACARDI Poncho laine et alpaca JACQUEMUS , Pantalon MARNI , Santiag et chapeau SHONE ET BACARDI Éditorial Western Blues Styliste: Soraya ESSABAR @sostylist Photographe: Maude ROODIER @roodier Assistants: Soline DIREZZ @soline.di Muah: Alexia @alexia.makeupandco Mannequin: Elodie SE @elodie.se_ Le Lieu Studio: Women Lyon Photo de couverture: Poncho laine et alpaca JACQUEMUS , Pantalon MARNI , Santiag et chapeau SHONE ET BACARDI Vivienne Westwood, une icône de la mode britannique, incarne l'esprit de la rébellion, de l'audace et de l'individualité depuis plus de quatre décennies. Fondée par la créatrice éponyme et son partenaire Malcolm McLaren dans les années 1970, la marque Vivienne Westwood est devenue synonyme de style provocateur et de design avant-gardiste. L'un des aspects les plus distinctifs de la marque est son mariage réussi entre l'esthétique punk et le luxe. Westwood a émergé au cœur du mouvement punk à Londres, où elle a puisé son inspiration dans l'effervescence culturelle et politique de l'époque. Ses premières créations, notamment des vêtements déchirés, des clous, des chaînes et des symboles anarchistes, ont bousculé les conventions de la mode traditionnelle et ont incarné l'esprit rebelle de la jeunesse. Au fil des années, Vivienne Westwood a élargi son influence pour devenir une figure emblématique de la mode internationale. Ses collections ont évolué pour incorporer des éléments historiques, artistiques et culturels, tout en conservant une touche de subversion caractéristique. Des pièces emblématiques telles que le corset à la taille accentuée, les imprimés audacieux et les coupes avant-gardistes continuent de défier les normes et d'inspirer une clientèle diversifiée à travers le monde. La durabilité et l'activisme sont également au cœur de la marque Vivienne Westwood. La créatrice elle-même est une fervente militante pour de nombreuses causes, notamment la protection de l'environnement et les droits de l'homme. Sa marque reflète cet engagement à travers des initiatives telles que la production éthique, l'utilisation de matériaux durables et la sensibilisation aux problèmes sociaux et environnementaux. En termes de produits, la marque Vivienne Westwood propose une gamme variée allant des vêtements pour hommes et femmes aux accessoires, aux chaussures et même aux lignes de parfums. Chaque pièce incarne l'audace et l'individualité qui sont les marques de fabrique de la marque, tout en offrant une qualité et un savoir-faire exceptionnels. En résumé, Vivienne Westwood est bien plus qu'une simple marque de mode ; c'est un véritable phénomène culturel. Son héritage de rébellion, d'innovation et d'engagement en fait une force incontournable dans l'industrie de la mode contemporaine, tout en continuant d'inspirer et de défier les conventions à chaque nouvelle collection. Read the full article

[an-unseemly-gentleman]

Also, id just like to add that boots like that have become almost synonymous with the punk movement (which is inherently anarchistic). I have a social realist punk for a father, and so when I saw this image my first thought was ‘oh hell yeah!’ because all I could see was punks like my dad fighting back against the oppressive systems in it.  

While I can understand the criticism this image can take (the relevance of the snake going over peoples heads and the aggression), but you just have to look at what the boot is trying to crush and you can understand how ‘faux woke’ people on here are. You’re really criticising this image of a boot crushing capitalist, racists, nazi’s and corrupt cops and all you can focus on is the.... boot? I think the mask has slipped from the preformative woke not the op...  

[kylegoodmanuca-blog]

Jamie Reid XXXXX: Fifty Years of Subversion and the Spirit - Exhibition 

Through his art, music, performance and politics, British artist and anarchist Jamie Reid has become somewhat of a punk icon, rebelling against society’s social and cultural injustices. His signature newspaper-cutting graphics have become synonymous with the spirit of British punk, from his collaboration on the Suburban Press (1971-1975) to, most notably, his iconic album artwork for the Sex Pistols.  

Humber Street Gallery presents Reid’s first major retrospective in the UK, “XXXXX: FIFTY YEARS OF SUBVERSION AND THE SPIRIT”. The exhibition will showcase a variety of material spanning several decades from the 1970’s to the present. Displaying collage work, drawings, paintings, prints, poster editions and photographs, demonstrating Reid’s witty delivery and continued dedication in making a statement through art. He returns to symbols such as Boudicca, the Oak Leaf, and Delacroix’s Liberty Leading the People, presenting them in new contexts relating to current issues, whilst his recent paintings reflect his later embrace of spirituality and nature.   

Jamie Reid (b. 1947) lives and works in Liverpool and is represented by John Marchant Gallery, Brighton. “XXXXX” will be co-curated by John Marchant, Gallerist and Curator, alongside David Sinclair, Head of Visual Art and Engagement at The Civic, Barnsley.