1. Music and the Labor Movement1) Watch: The Workers Rights Revolution I THE INDUSTRIAL REVOLUTION https://www.youtube.com/watch?v=2gZaCpQcQPg 2) View: Labor Unions and Music- PPT 3) Read: Benjamin Bi

198 15 ANGER IS A GIFT Post-Cold War Rock and the Anti-Capitalist Movement David Alexander Robinson On 30 November 1999, a new social movement debuted on the world stage, w\ ith more than 40,000 demonstrators disrupting the World Trade Organisation (\ WTO) meeting in Seattle. “The numbers and militancy of the protestors, and\ the innovative methods of organizing they used, took the authorities by surprise,” 1 and the pub- lic opposition helped ensure the meeting’s collapse. The transnationa\ l movement launched an important pattern of political struggle, regularly challengi\ ng meetings of neoliberal institutions through “boisterous and well-attended prot\ est events,” 2 particularly over the following two years. Known as the “Anti-Globali\ zation Figure 15.1 Tom Morello of Rage Against the Machine marching with Occupy Wall Street\ demonstrators during May Day rally. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

199 POST-COLD WAR ROCK AND ANTI-CAPITALISM Movement,” this outburst of activity was the early twenty-first centu\ ry’s most significant social campaign, 3 and presaged the contemporary Occupy Wall St.

movement. The “Anti-Globalization” moniker was always questioned by activist\ s as unsuit- able “for a movement that revels precisely in its international chara\ cter.” 4 As David Graeber asserts, “Insofar as this is a movement against anythin\ g, it’s against neoliberalism … a kind of market fundamentalism … wielded largely \ through unelected treaty organizations like the IMF [International Monetary Fund\ ], WTO or NAFTA [North American Free Trade Agreement].” 5 Thus, activists later adopted such titles as the “Alter-Globalization Movement” and “Global J\ ustice Movement.” Though neoliberals echo Margaret Thatcher’s dictum that “There Is \ No Alterna- tive,” this movement reinvigorated debate about creating more sociall\ y, economi- cally, and ecologically just global processes. 6 At one level, this movement was anti-capitalist in nature, not because all its mem- bers embraced explicitly anti-capitalist politics, but because it oppose\ d core elements of the global capitalist system. 7 However, significant sections of the movement were also self-consciously anti-capitalist, drawing on Marxist and anarchist traditions— Ronaldo Munck describing “an anarchism that takes on board much of th\ e Marx- ist analysis of the nature of global capitalism and the anti-corporate m\ ovement’s emphasis on consumerism.” 8 The movement’s explicitly anti-capitalist faction also advanced the most incisive critique of neoliberalism, and a meaningful p\ rogram for social change. T. V. Reed writes, “culture is always involved dialectically with the\ goings-on at the level of economics and politics, contesting for the meanings that\ can be made from … economic and political event-texts,” 9 and, indeed, various musicians prefigured or later interpreted the movement’s anti-capitalist politi\ cs. This is par- ticularly true of rock music, always popular among youth counterculture \ because of its “undeniably antagonistic impulse.” 10 This chapter explores the anti-capitalist movement’s politics through predominantly American and British post-C\ old War rock music—the definition of ‘rock’ liberally spanning from fol\ k rock to hip hop and electronica. Some thinkers periodize the post-Cold War era as ending\ with the 2008 Global Financial Crisis; thus, this study takes 1991–2008 as its\ scope. 11 Rel- evant artists from post-Cold War music are discussed to explore key elem\ ents of anti-capitalist politics and demonstrate their expression. This examinat\ ion begins with the protest movement’s evolution, then surveys its perspectives \ on environ- mentalism, marginalized social groups, exploitation of the developing wo\ rld (the Global South), war and domestic securitization, and, finally, anti-capi\ talist sys- temic critique. The term “Anti-Globalization” is used when describ\ ing the diverse protest movement, and “anti-capitalist” when discussing the anti-s\ ystemic faction on which this study focuses. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

200 DAVID ALEXANDER ROBINSON The Music Robin Ballinger argues music is important politically because, “throu\ gh its com- plex system of signification … [it shapes] awareness, individual subj\ ectivity, and social formations … [it] is a powerful site of struggle in the organi\ zation of mean- ing and lived experience.” 12 Music encourages individuals’ activity by helping them feel part of a coherent group, and reinforcing “movement values, idea\ s, and tactics … provid[ing] information in compact, often highly memorable and emot\ ionally charged ways, both to educate new recruits and to refocus veterans.” 13 Political songs also work as propaganda for “potential recruits, opponents, and\ undecided bystanders.” 14 This study examines anti-capitalist lyrics on the basis that, regard- less of whether musicians identify completely with anti-capitalist polit\ ics, anti-capi- talist activists are buoyed by political memes reflecting their core bel\ iefs. Cultural theorist Lawrence Grossberg differentiates between “oppositi\ onal rock … [that] presents itself as a direct challenge or threat to the domin\ ant culture … [and alternative rock, which] mounts only an implicit attack.” 15 This study surveys oppositional rock explicitly expressing politics congruent with anti-cap\ italist beliefs.

While many songs voice a general social ennui, or vague rage against authority, coun- tercultural revolt has been so highly commercialized that “rebellion”\ and “revolu- tion” are “catchphrases of the new standard marketing strategy.”\ 16 Indeed, neo- liberalism itself is a rebellion by capital against government impositio\ ns. So, artists transmitting unambiguous anti-capitalist memes are identified here, to d\ emonstrate core elements of that radical social critique. The extreme concentration\ of music industry ownership with a handful of corporations forces musicians to ac\ cept “the advertising, marketing, styling, and engineering techniques of increasin\ gly uniform and narrow profit-driven criteria.” 17 However, this study addresses radical messages that have entered popular circulation—corporations still cannot (completely)\ control “the meanings, practices, and pleasures of listening, dancing, and pa\ rtying at the site of consumption.” 18 As Vladimir Lenin remarked, “the capitalists will sell us the rope with which we will hang them.” The Movement The Anti-Globalization Movement originated in the late 1980s as neoliber\ al advo- cates pushed to create regional free trade blocs in North America and Eu\ rope, limit- ing government regulation of national economies. Ronald Reagan and Marga\ ret Thatcher “successfully pioneered free-market policies … [and by] t\ he end of the decade the world scene had become highly favourable to the generalizatio\ n of these innovations.” 19 The Canada–US Free Trade Agreement provoked Canadian oppo- sition from 1988, and from the early 1990s European protest grew against\ the Maas- tricht Treaty’s fiscal austerity and social cutbacks—the massive 1\ 995 French general strike being the most dramatic example of this. Radiohead’s lyrics la\ ter embodied Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

201 POST-COLD WAR ROCK AND ANTI-CAPITALISM these popular doubts in the song “Electioneering.” 20 Civil society campaigns con- tinued to grow in Canada, the US, and Mexico, with NAFTA’s signing in\ 1992, though they would not prevent the treaty’s ratification—Rage Again\ st the Machine (RATM) warning of its impact in “Wind Below” from 1996. 21 Parallel to these campaigns, a guerrilla uprising in Chiapas, southern M\ exico, coincided with NAFTA’s implementation on 1 January 1994. Led by the e\ nigmatic Subcomandante Marcos, the “Zapatista Army of National Liberation” \ denounced NAFTA’s neoliberal agenda on behalf of Chiapas’ poor indigenous pe\ ople. 22 Geoff Eley writes that the rise of the Zapatistas was the “founding event o\ f recharged anti- capitalist political formation.” 23 Various RATM songs later celebrated the Zap- atistas. 24 The WTO’s creation in 1995, and Multilateral Agreement on Investment\ negotiations to reduce international investment barriers, spurred campai\ gns against the WTO, World Bank and IMF. Activists, recognizing that neoliberal poli\ cies rein- forced global corporate privilege and threatened established human right\ s, labor and environmental standards, successfully coordinated through new internet a\ nd email technology. 25 (Bands such as Anti-Flag and System of a Down (SOAD) would go on to rail against the IMF and globalization with particular fervor). 26 Amidst this activ- ity, the Zapatistas helped shape the anti-capitalist movement from 1996 \ by inviting to Mexico “over 3,000 activists and intellectuals from 42 countries o\ n 5 continents … to enhance the global struggle against neoliberalism.” 27 Networks originating from those meetings, “which took place knee-deep in the jungle mud of\ rainy-season Chiapas,” 28 eventually organized the 1999 WTO protests. Successful protests at the \ Birmingham G8 Meeting in May 1998 and the Global Carnival Against Capita\ lism in June 1999, attracting tens of thousands of participants, established \ the context for the Seattle events. 29 The Seattle protest coalition was extremely diverse, including anti-corp\ orate groups; environmental organizations; farm, sustainable agriculture, and \ anti-GMO groups; labor unions; development/world hunger groups; animal rights gro\ ups; religious organizations; and government representatives from developing \ nations. 30 They were united by growing awareness that the international financial i\ nstitu- tions threatened their causes, and they demanded the institutions balanc\ e “eco- nomic growth with considerations of the social and environmental consequ\ ences of trade and investment promotion.” 31 Most activists were young, well-educated and involved in informal networks, while those in important logistical roles\ were pre- dominantly older representatives of NGOs or labor unions. 32 Propagandhi reflected those young people’s perspective that, despite their relatively comfo\ rtable, middle class backgrounds, they had a moral obligation to speak up for the poor \ and pow- erless. 33 SOAD describes them as “peaceful loving youth against the brutality/\ Of plastic existence.” 34 Activists’ commitment to non-hierarchical, consensus-based, decision-\ making produced the organizational model of “affinity groups” sending del\ egates to larger Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

202 DAVID ALEXANDER ROBINSON “spokes councils” to discuss wider strategies. They had no over-ar\ ching leaders and operated through participatory democracy, allowing coordination without \ decision- enforcement mechanisms. 35 The WTO protest involved political marches and speeches, and the pre-coordinated blockading of roads and conference ven\ ues using knowledge of the downtown layout and cell-phone communication. 36 Meanwhile, the anarchist “Black Bloc” donned black clothes and masks, smashin\ g windows of symbolic capitalist targets such as McDonald’s, Nike, and Gap. 37 Overnight, the “Battle of Seattle” launched the Anti-Globalization\ Movement as a well-known political force, and numerous bands later invoked the im\ agery of that protest and others in calls for social resistance. Anti-Flag rai\ led against the suppression of free speech, 38 while Ani DiFranco, Tom Morello, and SOAD sang about protesters being shot by police. 39 Asian Dub Foundation (ADF)’s song “Basta” (“Enough,” in Spanish) praises later G8 protests 40 and elsewhere they portentously link free markets with slavery. 41 Over the next two years, dozens of such protests targeted national and international institutions representing neoliberal orthodoxy. Alongside \ global May Day demonstrations, and protests against the US Republican and Democ\ ratic National Conventions, prominent anti-globalization protests occurred in Washington, D.C.; Chiang Mai, Thailand; Melbourne, Australia; Prague, Cz\ ech Republic; Seoul, South Korea; Nice, France; Davos, Switzerland; Quebec C\ ity, Canada; Gothenburg, Sweden; and in Genoa, Italy, for the 2001 G8 Summit \ which drew 250,000 protestors. 42 From January 2001, the Anti-Globalization Movement also forged a more coherent counter-organization, with 12,000 activists \ attending the first World Social Forum in Porto Allegre, Brazil—Naomi Klein wri\ ting, “If Seattle was … the coming-out party of a resistance movement, t\ hen … Porto Alegre [was] the coming-out party for … serious thinking about alternatives.” 43 The 9/11 terrorist attacks on the United States dramatically undercut th\ e movement, dampening enthusiasm for large-scale protest and empowering governments to respond more aggressively and criminalize dissent. Howeve\ r, in subsequent years, less-frequent protests returned to encouraging sizes a\ cross Europe and North America, and were joined by larger demonstrations against war \ in Iraq and Afghanistan. 44 Almost half a million participants protested “Against a Europe of Capital and War” outside the Barcelona EU summit in March 2002. 45 World and Regional Social Forums have since attracted more than 50,000 delegates a\ year, 46 building what the second World Social Forum announced would be an “al\ liance from our struggles and resistance against a system based on sexism, raci\ sm and violence, which privileges the interests of capital and patriarchy over \ the needs and aspirations of people.” 47 Despite the changing context, anti-capitalists maintained that, as SOAD and Faithless sing, greed, war, and turning away from thos\ e in need continue to determine individual and collective behavior. 48 Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

203 POST-COLD WAR ROCK AND ANTI-CAPITALISM Environmentalism Environmentalist beliefs are by no means the preserve of the anti-capita\ list movement.

Many today are stirred by Tracy Chapman’s lament that we are witnessi\ ng a world being raped by corporations. 49 Nevertheless, environmentalism is a core anti-capi- talist value, and one that motivated action against international instit\ utions in the 1990s. Buttel and Gould argue that, from 1990, decisions by the General \ Agreement on Tariffs and Trade (GATT) and the WTO shocked environmentalists, beg\ inning with a ruling against a US Marine Mammal Protection Act clause prohibiti\ ng import of tuna caught using methods resulting in numerous dolphin deaths. 50 Early WTO rulings prevented the US imposing higher environmental standards on impo\ rted gasoline than domestic production, and later a US law “banning shrimp\ imports from countries whose shrimp harvesters kill sea turtles” was struck d\ own.

51 Europeans feared the WTO would force them to accept genetically-modified goods, wh\ ich later occurred in 2006. These rulings disturbed mainstream environmental\ groups previously unopposed to free trade, demonstrating how liberalization cou\ ld overturn hard-fought-for environmental legislation. This drew them into the coali\ tion against the WTO meeting in Seattle. 52 Anti-capitalists also recognized that free trade regimes endangered citi\ zens of developing countries by “eliminating already inadequate environmental\ laws … turning the environment into a product to be bought and sold.” 53 Morrissey and Immortal Technique have warned of the consequences of unbridled, unregul\ ated, capitalism, with references to pollution and toxic dumping, while others\ , like Propagandhi, interject vegetarianism and animal rights into their broade\ r ecological critique. 54 Generally, the interconnectedness of environmental and social struggles is recognized, whether in the corporate strategy of pla\ ying workers against environmentalists to degrade both labor and environmental protec\ tions, 55 or the wider understanding that the anti-capitalist movement thus views \ the capitalist compulsion to profit as the key driver of environmental destr\ uction and commodification of the biological world. 56 As Propagandhi say, “You can tell by the smiles on the CEOs that the environmental restraints are about to go\ .” 57 The Marginalized Anti-capitalist activists are generally extremely aware of social margin\ alization due to race, class, sexuality or gender, their intersectionality, and ho\ w these forms of oppression are overdetermined by capitalism. Robert Ross writes that \ the movement has “identity consciousness in which inherited characteristi\ cs—race, ethnicity, gender … are taken to be political building blocks.” 58 Margaret Thatcher denied structural discrimination with her slogan “There is no such th\ ing as society.

There are [only] individual men and women, and there are families.” 59 Neoliberals assert that a “level-playing field” exists within nations, and ind\ ividuals bear full Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

204 DAVID ALEXANDER ROBINSON responsibility for their social circumstances. In contrast, anti-capital\ ists recognise that neoliberalism’s “systematic and calculated process of human i\ mpoverishment is decidedly gendered with women and children comprising the vast majori\ ty of the world’s poor … Neoliberalism has meant fewer state services …\ while the burden of care has fallen to communities, households and, ultimately, wo\ men.” 60 Both Tracy Chapman and Ani DiFranco capture this gendered disadvantage w\ ith their songs “Woman’s Work,” and “Make Them Apologize.” 61 Today, Western feminist struggles often take place around identity. “\ Girl Power” is promoted as an empowered discourse, but is really a neoliberal phenom\ enon emphasising “the idealized form of the self-determining individual …\ direct[ing] attention from structural explanations for inequality toward … person\ al circumstances and personality traits.” 62 Some female bands attack this sanitized feminist form by enacting ‘ugliness’ and violating feminine expect\ ations. Bikini Kill drummer Tobi Vail states that “For girls to pick up guitars and screa\ m their heads off in a totally oppressive, fucked-up male-dominated culture is to seiz\ e power … a political act.” 63 Patriarchal oppression is often embedded in interpersonal relations and, in songs like “Face Up and Sing,” DiFranco bemoans both sexua\ l harassment and the silence that perpetuates violence against women. 64 Propagandhi empha- size that the gender-binary also constrains men and they must be part of\ the solu- tion, 65 while DiFranco welcomes men to the feminist cause. 66 Indeed, in interview, DiFranco asserts, “there is simply no such thing as peace within patr\ iarchy,” and that she “would like to see men and women embracing … [Feminism] as a r\ oad out of here, this daily crisis that we live of perpetual war, of destruction of\ the environment, of racism etc.” 67 Racism has often gained more, and angrier, attention in rock music. In “\ The Only Good Fascist Is a Very Dead Fascist,” Propagandhi characteristic\ ally confront the subject with no-holds-barred slamming of white privilege. 68 Michael Franti’s songs also often reference discrimination against the poor and people of\ color, linking those trends to American capitalism and overseas imperialism. 69 Although exaggerating statistics, Franti captures the essence of racial inequalit\ y with his references to a quarter of all African-Americans being in prison and fif\ ty percent in poverty. 70 RATM also highlight the intersection of race and class, emphasizing, in “Down Rodeo,” that the only interaction the residents of Beverl\ ey Hills have with people of color is if they employ (or enslave) them. 71 RATM have also invoked the imprisoned activist and former Black Panther member Mumia Abu Jamal \ as a symbol of resistance to racist police oppression. 72 Right-wing politicians often employ racism to mobilize public support; i\ n the Brit- ish context, directing this towards immigrant communities. Both Pop Will\ Eat Itself, in “Ich bin Ein Auslander,” and the ethnically-Indian ADF, in “\ Free Satpal Ram,” call out both hate speech and the persecution of ethnic minorities. 73 (Ram is a British- Bengali man who was jailed for life after killing a racially-motivated a\ ttacker; he was Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

205 POST-COLD WAR ROCK AND ANTI-CAPITALISM released from prison in 2002 following protests from individuals and gro\ ups like ADF). 74 ADF also calls for Europe-wide struggle against racism towards immigran\ ts and asylum-seekers in songs such as “Fortress Europe.” 75 There is increasing concern over “the human rights abuses embodied in\ the ‘prison-industrial complex’, the vast growth of prisons … fille\ d disproportionately by men and women of color.” 76 KRS-One likens modern law-enforcement to past slave-masters, 77 SOAD highlight the scale of incarcerations for drug offences in the United States, 78 and RATM references the interconnection of social decay and crime, 79 while DiFranco assigns ultimate responsibility to government policymake\ rs for the racial disparity in American prisons. 80 Pointing to the correlation of rates of imprisonment and poverty, Immortal Technique describes the grinding life\ of the poor under capitalism. 81 Poverty’s structural reality puts the lie to neoliberalism’s assumed “level-playing field.” 82 Anti-capitalists highlight increasing poverty under neoliberalism, which has attacked organized labor’s power and created\ a “pattern of jobless growth,” as semi-skilled positions give way to a combinati\ on of casualized “McJobs” and a well-remunerated but intensively overworked technol\ ogical intelligentsia.” 83 Free Trade agreements have “harmonized conditions downward” in other countries such as Canada, “hollowing-out … the Keynesian \ welfare state in each participating country.” 84 Chapman, RATM, and DiFranco go further, and insist that sexism, racism, and poverty are, at bottom, imbedded within \ capitalist economics. 85 Systemic Change Anti-capitalists have targeted corporations, global financial institutio\ ns, and the gov- ernments supporting them. The movement’s key values illustrated herei\ n have been environmentalism, advancing rights of the marginalized, ending the globa\ l disparity in wealth and power, and opposing war and the securitization of society.\ However, central to the anti-capitalist analysis is the interconnection of these \ issues and their roots in the global social and economic system that is capitalism. The c\ apitalist sys- tem imposes “economic imperatives, introducing the compulsions of the\ market … creating and maintaining a class of propertyless workers, who … are o\ bliged to enter the market to sell their labour power.” 86 The meme of the “one percent” dominates current political discourse, and bands like Propagandhi sing about the i\ ncreasing power of the rich. 87 It seems, in fact, that today, more than ever, “public values, dominant ideas, and [the] range of accessible politics are all … [tie\ d] to an overrid- ing logic of capital accumulation.” 88 Thus, the solution is systemic change—as one London May Day slogan read, “Get Rid of Capitalism and Replace it wit\ h Some- thing Nicer.” 89 Precisely what the solution is has been debated for hundreds of years in Marxist and anarchist circles, but the consensus seems: first, as ADF ex\ presses in Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

206 DAVID ALEXANDER ROBINSON “Hypocrite,” 90 widespread redistribution of global wealth; second, this can only occur through revolution (see RATM’s “Down Rodeo,” 91 Propagandhi’s, “Rio De San Atlanta, Manitoba,” 92 Anti-Flag’s “Got the Numbers,” 93 and Tracy Chapman’s “Talkin’ ’bout a Revolution” 94). There’s nothing easier in rock music than talking about revolution, but anti-capitalists take heart from those calls. Ther\ e is also the tendency to casually emphasize violence, RATM frequently using the motif\ in songs such as “Calm Like a Bomb,” 95 “New Millennium Homes,” 96 and “Down Rodeo.” 97 However, beneath rhetoric is the call for the economic pillars of societ\ y—the “means of production”—to be brought under popular control. 98 Rather than Soviet-style nationalization, the anti-capitalist movement generally has “consensu\ s that participa- tory democracy at the local level—whether through unions, neighbourho\ ods, farms, villages, anarchist collectives or aboriginal self-government—is wher\ e to start build- ing alternatives.” 99 Graber argues it “is a movement about reinventing democracy … creating and enacting horizontal networks instead of top-down structures\ like states, parties or corporations; networks based on principles of decentralized, \ non-hierarchi- cal consensus democracy.” 100 Thus, the anti-capitalist movement of the early twenty- first century, and its successor movements today, call for a radical yet\ participatory change to the social and economic order. 101 Notes 1 Alex Callinicos, An Anti-Capitalist Manifesto (Cambridge: Polity Press 2003), 4.

2 Jeffrey M. Ayres, “Framing Collective Action against Neoliberalism: T\ he Case of the ‘Anti-Globalization’ Movement,” Journal of World-Systems Research, Vol. X, No. 1 (Winter 2004): 11.

3 Frederick H. Buttel and Kenneth A. Gould, “Global Social Movement(s)\ at the Crossroads: Some Observations on the Trajectory of the Anti-Corporate Gl\ obalization Movement,” Journal of World-Systems Research, Vol. X, No. 1 (Winter 2004): 38.

4 Callinicos, An Anti-Capitalist Manifesto, 13.

5 David Graeber, “The New Anarchists,” in Tom Merte, ed., A Movement of Movements: Is Another World Really Possible? (London: Verso, 2004), 203.

6 Ayres, “Framing Collective Action,” 12–13.

7 Callinicos, An Anti-Capitalist Manifesto, 15.

8 Ronaldo Munck, Globalization and Contestation: The New Great Counter-Movement (London:

Routledge, 2007), 70–71.

9 T.V. Reed, The Art of Protest: Culture and Activism from the Civil Rights Movement \ to the Streets of Seattle (Minneapolis: University of Minnesota Press, 2005), 292.

10 Katrina Irving, “Rock Music and the State: Dissonance or Counterpoint\ ?” Cultural Cri- tique, No. 10 (Autumn, 1988): 151.

11 Alex Callinicos, Bonﬁ re of Illusions: The Twin Crises of the Liberal World (Cambridge: Polity Press, 2010).

12 Robin Ballinger, “Sounds of Resistance,” in Louise Amoore, ed., The Global Resistance Reader (London: Routledge, 2005), 430. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

207 POST-COLD WAR ROCK AND ANTI-CAPITALISM 13 Reed, The Art of Protest, 299.

14 Reed, The Art of Protest, 299.

15 Brian Longhurst, Popular Music & Society (Cambridge: Polity Press, 2007), 108.

16 Karen Bettez Halnon, “Heavy Metal Carnival and Dis-alienation: The Po\ litics of Grotesque Realism,” Symbolic Interaction, Vol. 29, No. 1 (Winter 2006): 45.

17 Martin Scherzinger, “Music, Corporate Power, and Unending War,” Cultural Critique, No. 60 (Spring 2005): 24.

18 Martin Stokes, “Music and the Global Order,” Annual Review of Anthropology, Vol. 33 (2004): 54–55.

19 Callinicos, An Anti-Capitalist Manifesto, 2–3.

22 Ayres, “Framing Collective Action,” 15–16.

23 Geoff Eley, “Historicizing the Global, Politicizing Capital: Giving t\ he Present a Name,” History Workshop Journal, No. 63 (Spring 2007): 174–175.

25 Duncan Green and Matthew Grifﬁ th, “Globalization and Its Discontents,” International Affairs, Vol. 78, No. 1 (January 2002): 54.

27 David E. Lowes, The Anti-Capitalist Dictionary: Movements, Histories and Motivations (London:

Zed Books, 2006), 295–296.

28 Graeber, “The New Anarchists,” 204.

29 Green and Grifﬁ th, “Globalization and Its Discontents,” 50.

30 Buttel and Gould, “Global Social Movement,” 48.

31 Ayres, “Framing Collective Action,” 22.

32 Buttel and Gould, “Global Social Movement,” 45.

35 Buttel and Gould, “Global Social Movement,” 39.

36 Ayres, “Framing Collective Action,” 21.

37 Francis Dupuis-Déri, “The Black Blocs Ten Years after Seattle: Ana\ rchism, Direct Action, and Deliberative Practices,” Journal for the Study of Radicalism, Vol. 4, No. 2 (2010):

46.

39 Ani DiFranco, Evolve, CD track 11, “Serpentine,” © 2003 Righteous Babe Records; System of a Down, “Deer Dance”; and The Nightwatchman, One Man Revolution, CD track 10, “Union Song,” © 2007 Epic Records. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

42 Callinicos, An Anti-Capitalist Manifesto, 5; Ayres, “Framing Collective Action,” 23; and Buttel and Gould, “Global Social Movement,” 43, 48–49.

43 Naomi Klein, “Farewell to the ‘End of History:’ Organization an\ d Vision in Anti- Corporate Movements,” in The Global Resistance Reader, 158.

44 Ayres, “Framing Collective Action,” 25.

45 Callinicos, An Anti-Capitalist Manifesto, 18.

46 Ayres, “Framing Collective Action,” 28.

47 Callinicos, An Anti-Capitalist Manifesto, 15.

50 Buttel and Gould, “Global Social Movements,” 46–47.

51 Buttel and Gould, “Global Social Movements,” 46–47.

53 Reed, The Art of Protest, 251.

54 Robert J. S. Ross, “From Antisweatshop to Global Justice to Antiwar: \ How the New New Left is the Same and Different from the Old New Left,” Journal of World-Systems Research, Vol. X, No. 1 (Winter 2004): 310–311. See Morrissey, You Are the Quarry (Deluxe Edition), CD, disc 2, track 9, “Mexico,” © 2004 Sanctuary/Attack Records;\ Immortal Tech- nique, The 3rd World, CD, track 7, “The 3rd World,” © 2008 Viper Records; and Pro- pagandhi, Less Talk, More Rock, CD, track 2, “Nailing Descartes to the Wall,” © 1996 Fat Wreck Chords.

55 Reed, The Art of Protest, 253.

58 Robert J. S. Ross, “From Antisweatshop to Global Justice,” 310–\ 311.

59 William K. Carroll and William Little, “Neoliberal Transformation and\ Antiglobaliza- tion Politics in Canada: Transition, Consolidation, Resistance,” International Journal of Political Economy, Vol. 31, No. 3 (Fall 2001): 48.

60 Janine Brodie, “Globalization, Governance and Gender: Rethinking the \ Agenda for the Twenty-First Century” in The Global Resistance Reader, 250–251.

62 Marnina Gonick, “Between ‘Girl Power’ and ‘Reviving Ophelia’\ : Constituting the Neoliberal Girl Subject,” NWSA Journal, Vol. 18, No. 2 (Summer 2006): 2. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

209 POST-COLD WAR ROCK AND ANTI-CAPITALISM 63 Karina Eileraas, “Witches, Bitches & Fluids: Girl Bands Performing Ug\ liness as Resis-tance,” TDR/The Drama Journal, Vol. 41, No. 3 (Autumn 1997): 124–125.

67 Megan Haines and Ani DiFranco, “Interview with Ani DiFranco,” Off Our Backs, Vol.

37, No. 4 (2007): 23–24.

69 Derrick P. Alridge, “From Civil Rights to Hip Hop: Toward a Nexus of \ Ideas,” The Journal of African American History, Vol. 90, No. 3 (Summer 2005): 226–227.

71 Rage Against the Machine, Evil Empire, CD, track 7, “Down Rodeo,” © 1996 Epic Associated Records, and Rage Against the Machine, Evil Empire, CD, track 8, “Without a Face,” © 1996 Epic Associated Records.

74 Tariq Jazeel, “The World Is Sound? Geography, Musicology and British-\ Asian Soundscapes,” Area, Vol. 37, No. 3 (Sept 2005): 235; and Asian Dub Foundation, RAFI’s Revenge, CD, track 7, “Free Satpal Ram,” © 1998 London Records.

76 Reed, The Art of Protest, 252.

79 Rage Against the Machine, Battle of Los Angeles, CD, track 11, “Ashes in the Fall,” © 1999 Epic Associated Records; and Rage Against the Machine, Evil Empire, CD, track 11, “Year of tha Boomerang,” © 1996 Epic Associated Records.

83 Carroll and Little, “Neoliberal Transformation,” 45.

84 Carroll and Little, “Neoliberal Transformation,” 38. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.

210 DAVID ALEXANDER ROBINSON 85 Tracy Chapman, Matters of the Heart, CD, track 2, “So,” © 1992 Elektra; Tracy Chapman, Where You Live, CD, track 7, “America,” © 2005 Elektra; Rage Against the Mach\ ine, Evil Empire, CD, track 11, “Year of tha Boomerang,” © 1996 Epic Associated\ Records; and Ani DiFranco, Not So Soft, CD, track 5, “On Every Corner,” © 1991 Righteous Babe Records.

86 Ellen Meiksins Wood, Empire of Capital (London: Verso, 2003): 20–21.

87 Propagandhi, Less Talk, More Rock, CD, track 7, “And We Thought That Nation-States Were A Bad Idea,” © 1996 Fat Wreck Chords; and Propagandhi, Less Talk, More Rock, CD, track 9, “Resisting Tyrannical Government,” © 1996 Fat Wrec\ k Chords.

88 Geoff Eley, “Historicizing the Global,” 163.

89 Callinicos, An Anti-Capitalist Manifesto, 106.

99 Naomi Klein, “Farewell to the ‘End of History,’” 160.

100 David Graeber, “The New Anarchists,” 212.

101 Rise Against, Siren Song of the Counter Culture, CD, track 2, “The First Drop,” © 2004 Gef- fen Records; Rage Against the Machine, The Battle of Los Angeles, CD, track 12, “War within a Breath,” © 1999 Epic Associated Records; Rage Against the\ Machine, The Battle of Los Angeles, CD, track 2, “Guerrilla Radio,” © 1999 Epic Associated Record\ s. Friedman, J. C. (Ed.). (2013). The routledge history of social protest in popular music. Retrieved from http://ebookcentral.proquest.com Created from michstate-ebooks on 2020-05-18 12:57:44.