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A N G E R I S A G I F T

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, with

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 transnational movement

launched an important pattern of political struggle, regularly challenging meetings

of neoliberal institutions through “boisterous and well-attended protest events,”2

particularly over the following two years. Known as the “Anti-Globalization

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.

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Movement,” this outburst of activity was the early twenty-first century’s most

significant social campaign,3 and presaged the contemporary Occupy Wall St.

movement.

The “Anti-Globalization” moniker was always questioned by activists as unsuit-

able “for a movement that revels precisely in its international character.”4 As

David Graeber asserts, “Insofar as this is a movement against anything, 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 Justice Movement.”

Though neoliberals echo Margaret Thatcher’s dictum that “There Is No Alterna-

tive,” this movement reinvigorated debate about creating more socially, 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 opposed 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 the Marx-

ist analysis of the nature of global capitalism and the anti-corporate movement’s

emphasis on consumerism.”8 The movement’s explicitly anti-capitalist faction also

advanced the most incisive critique of neoliberalism, and a meaningful program 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 politics. 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-Cold War

rock music—the definition of ‘rock’ liberally spanning from folk 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 elements of

anti-capitalist politics and demonstrate their expression. This examination begins

with the protest movement’s evolution, then surveys its perspectives on environ-

mentalism, marginalized social groups, exploitation of the developing world (the

Global South), war and domestic securitization, and, finally, anti-capitalist sys-

temic critique. The term “Anti-Globalization” is used when describing the diverse

protest movement, and “anti-capitalist” when discussing the anti-systemic 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.

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The Music

Robin Ballinger argues music is important politically because, “through its com-

plex system of signification … [it shapes] awareness, individual subjectivity, and

social formations … [it] is a powerful site of struggle in the organization of mean-

ing and lived experience.”12 Music encourages individuals’ activity by helping them

feel part of a coherent group, and reinforcing “movement values, ideas, and tactics

… provid[ing] information in compact, often highly memorable and emotionally

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 politics, anti-capi-

talist activists are buoyed by political memes reflecting their core beliefs.

Cultural theorist Lawrence Grossberg differentiates between “oppositional rock

… [that] presents itself as a direct challenge or threat to the dominant culture …

[and alternative rock, which] mounts only an implicit attack.”15 This study surveys

oppositional rock explicitly expressing politics congruent with anti-capitalist 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 impositions. So, artists

transmitting unambiguous anti-capitalist memes are identified here, to demonstrate

core elements of that radical social critique. The extreme concentration of music

industry ownership with a handful of corporations forces musicians to accept “the

advertising, marketing, styling, and engineering techniques of increasingly 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 partying 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 neoliberal advo-

cates pushed to create regional free trade blocs in North America and Europe, limit-

ing government regulation of national economies. Ronald Reagan and Margaret

Thatcher “successfully pioneered free-market policies … [and by] the end of the

decade the world scene had become highly favourable to the generalization 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 1995 French general

strike being the most dramatic example of this. Radiohead’s lyrics later 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.

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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 Against the Machine

(RATM) warning of its impact in “Wind Below” from 1996.21

Parallel to these campaigns, a guerrilla uprising in Chiapas, southern Mexico,

coincided with NAFTA’s implementation on 1 January 1994. Led by the enigmatic

Subcomandante Marcos, the “Zapatista Army of National Liberation” denounced

NAFTA’s neoliberal agenda on behalf of Chiapas’ poor indigenous people.22 Geoff

Eley writes that the rise of the Zapatistas was the “founding event of 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 campaigns against

the WTO, World Bank and IMF. Activists, recognizing that neoliberal policies rein-

forced global corporate privilege and threatened established human rights, labor and

environmental standards, successfully coordinated through new internet and 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 on 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 Capitalism

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-corporate

groups; environmental organizations; farm, sustainable agriculture, and anti-GMO

groups; labor unions; development/world hunger groups; animal rights groups;

religious organizations; and government representatives from developing nations.30

They were united by growing awareness that the international financial institu-

tions threatened their causes, and they demanded the institutions balance “eco-

nomic growth with considerations of the social and environmental consequences 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 comfortable, 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 delegates 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.

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“spokes councils” to discuss wider strategies. They had no over-arching 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 venues using

knowledge of the downtown layout and cell-phone communication.36 Meanwhile,

the anarchist “Black Bloc” donned black clothes and masks, smashing 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 imagery

of that protest and others in calls for social resistance. Anti-Flag railed 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 protests40 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 Democratic

National Conventions, prominent anti-globalization protests occurred in

Washington, D.C.; Chiang Mai, Thailand; Melbourne, Australia; Prague, Czech

Republic; Seoul, South Korea; Nice, France; Davos, Switzerland; Quebec City,

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 writing,

“If Seattle was … the coming-out party of a resistance movement, then …

Porto Alegre [was] the coming-out party for … serious thinking about

alternatives.”43

The 9/11 terrorist attacks on the United States dramatically undercut the

movement, dampening enthusiasm for large-scale protest and empowering

governments to respond more aggressively and criminalize dissent. However, in

subsequent years, less-frequent protests returned to encouraging sizes across 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 “alliance

from our struggles and resistance against a system based on sexism, racism 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 those 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.

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Environmentalism

Environmentalist beliefs are by no means the preserve of the anti-capitalist movement.

Many today are stirred by Tracy Chapman’s lament that we are witnessing a world

being raped by corporations.49 Nevertheless, environmentalism is a core anti-capi-

talist value, and one that motivated action against international institutions 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, beginning

with a ruling against a US Marine Mammal Protection Act clause prohibiting import

of tuna caught using methods resulting in numerous dolphin deaths.50 Early WTO

rulings prevented the US imposing higher environmental standards on imported

gasoline than domestic production, and later a US law “banning shrimp imports

from countries whose shrimp harvesters kill sea turtles” was struck down.51 Europeans

feared the WTO would force them to accept genetically-modified goods, which

later occurred in 2006. These rulings disturbed mainstream environmental groups

previously unopposed to free trade, demonstrating how liberalization could overturn

hard-fought-for environmental legislation. This drew them into the coalition against

the WTO meeting in Seattle.52

Anti-capitalists also recognized that free trade regimes endangered citizens 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, unregulated,

capitalism, with references to pollution and toxic dumping, while others, like

Propagandhi, interject vegetarianism and animal rights into their broader

ecological critique.54 Generally, the interconnectedness of environmental and

social struggles is recognized, whether in the corporate strategy of playing workers

against environmentalists to degrade both labor and environmental protections,55

or the wider understanding that the anti-capitalist movement thus views the

capitalist compulsion to profit as the key driver of environmental destruction 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 marginalization

due to race, class, sexuality or gender, their intersectionality, and how these forms

of oppression are overdetermined by capitalism. Robert Ross writes that the

movement has “identity consciousness in which inherited characteristics—race,

ethnicity, gender … are taken to be political building blocks.”58 Margaret Thatcher

denied structural discrimination with her slogan “There is no such thing 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 individuals 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.

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responsibility for their social circumstances. In contrast, anti-capitalists recognise

that neoliberalism’s “systematic and calculated process of human impoverishment

is decidedly gendered with women and children comprising the vast majority of

the world’s poor … Neoliberalism has meant fewer state services … while the

burden of care has fallen to communities, households and, ultimately, women.”60

Both Tracy Chapman and Ani DiFranco capture this gendered disadvantage with

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 phenomenon

emphasising “the idealized form of the self-determining individual … direct[ing]

attention from structural explanations for inequality toward … personal

circumstances and personality traits.”62 Some female bands attack this sanitized

feminist form by enacting ‘ugliness’ and violating feminine expectations. Bikini Kill

drummer Tobi Vail states that “For girls to pick up guitars and scream their heads

off in a totally oppressive, fucked-up male-dominated culture is to seize power … a

political act.”63 Patriarchal oppression is often embedded in interpersonal relations

and, in songs like “Face Up and Sing,” DiFranco bemoans both sexual 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 patriarchy,” and that

she “would like to see men and women embracing … [Feminism] as a road 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 characteristically 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 inequality with his

references to a quarter of all African-Americans being in prison and fifty percent

in poverty.70 RATM also highlight the intersection of race and class, emphasizing,

in “Down Rodeo,” that the only interaction the residents of Beverley 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; in 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 attacker; 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.

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released from prison in 2002 following protests from individuals and groups like

ADF).74 ADF also calls for Europe-wide struggle against racism towards immigrants

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 … filled 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 policymakers

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 combination of casualized

“McJobs” and a well-remunerated but intensively overworked technological

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 institutions, and the gov-

ernments supporting them. The movement’s key values illustrated herein have been

environmentalism, advancing rights of the marginalized, ending the global 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 capitalist sys-

tem imposes “economic imperatives, introducing the compulsions of the market …

creating and maintaining a class of propertyless workers, who … are obliged 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 increasing

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 … [tied] 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 with 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 expresses 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.

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“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. There 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 society—the “means

of production”—to be brought under popular control.98 Rather than Soviet-style

nationalization, the anti-capitalist movement generally has “consensus that participa-

tory democracy at the local level—whether through unions, neighbourhoods, farms,

villages, anarchist collectives or aboriginal self-government—is where 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: The 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 Globalization

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.

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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 Politics 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.

Records.

Associated Records.

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

23 Geoff Eley, “Historicizing the Global, Politicizing Capital: Giving the Present a Name,”

History Workshop Journal, No. 63 (Spring 2007): 174–175.

24 Rage Against the Machine, The Battle of Los Angeles, CD, track 12, “War Within a Breath,”

25 Duncan Green and Matthew Griffi th, “Globalization and Its Discontents,” International

Affairs, Vol. 78, No. 1 (January 2002): 54.

ican Recordings.

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.

1996 Fat Wreck Chords.

Recordings.

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: Anarchism, Direct

Action, and Deliberative Practices,” Journal for the Study of Radicalism, Vol. 4, No. 2 (2010):

46.

System of a Down, “Deer Dance”; and The Nightwatchman, One Man Revolution, CD

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Records.

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 and 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.

Records/BMG.

Elektra.

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

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

52 Buttel and Gould, “Global Social Movements,” 46–47, and NOFX, War On Errorism,

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),

Fat Wreck Chords.

55 Reed, The Art of Protest, 253.

1996 Fat Wreck Chords.

57 Propagandhi, Less Talk, More Rock, CD, track 7, “And We Thought That Nation-States

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.

teous Babe Records.

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.

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63 Karina Eileraas, “Witches, Bitches & Fluids: Girl Bands Performing Ugliness as Resis-

tance,” TDR/The Drama Journal, Vol. 41, No. 3 (Autumn 1997): 124–125.

Records.

Wreck Chords.

Records.

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

37, No. 4 (2007): 23–24.

68 Propagandhi, Less Talk, More Rock, CD, track 11, “The Only Good Fascist Is a Very

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.

Records.

Associated Records, and Rage Against the Machine, Evil Empire, CD, track 8, “Without

1999 Epic Associated Records.

Infectious Records; and Asian Dub Foundation, Facts and Fictions, CD, track 2, “PKNB,”

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

Records.

76 Reed, The Art of Protest, 252.

Records.

Recordings.

1999 Epic Associated Records; and Rage Against the Machine, Evil Empire, CD, track

Babe Records.

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.

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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

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

89 Callinicos, An Anti-Capitalist Manifesto, 106.

Records.

91 Rage Against the Machine, “Down Rodeo.”

1996 Fat Wreck Chords.

Records.

Elektra.

95 Rage Against the Machine, The Battle of Los Angeles, CD, track 3, “Calm Like a Bomb,”

96 Rage Against the Machine, The Battle of Los Angeles, CD, track 10, “New Millennium

97 Rage Against the Machine, “Down Rodeo.”

98 Rage Against the Machine, “Down Rodeo”; and Immortal Technique, The 3rd World,

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

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

fen Records; Rage Against the Machine, The Battle of Los Angeles, CD, track 12, “War

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.

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