Rabble Rousers And Merry Pranksters

Rabble Rousers and Merry Pranksters captures some of the imagination, the audacity, the laughs and the wildness that animated many of the social movements of the sixties and seventies in Aotearoa/New Zealand. During this time, particularly from the late sixties to the early seventies, an astonishingly broad-based revolt occurred throughout the country. Thousands of workers, Maori, Pacific people, women, youth, lesbians, gays, students, environmentalists and others rebelled against authority. Innovative new styles and anarchistic methods of political dissent became popular. A colourful and energetic bunch of anarchists occasionally played significant roles in these struggles. Anarchists were prominent in the anti-nuclear, anti-Vietnam War, anti-US military bases, commune, unemployed and peace movements. Rabble Rousers and Merry Pranksters is a richly-detailed tale about a much neglected anti-authoritarian leftist current in Aotearoa/New Zealand history."

The first collection of its kind to explore the diverse and global history of psychedelics as they appealed to several generations of researchers and thinkers. Expanding Mindscapes offers a fascinatingly fluid and diverse history of psychedelics that stretches around the globe. While much of the literature to date has focused on the history of these drugs in the United States and Canada, editors Erika Dyck and Chris Elcock deliberately move away from these places in this collection to reveal a longer and more global history of psychedelics, which chronicles their discovery, use, and cultural impact in the twentieth century. The authors in this collection explore everything from LSD psychotherapy in communist Czechoslovakia to the first applications of LSD-25 in South America to the intersection of modernism and ayahuasca in China. Along the way, they also consider how psychedelic experiments generated their own cultural expressions, where the specter of the United States may have loomed large and where colonial empires exerted influence on the local reception of psychedelics in botanical and pharmaceutical pursuits. Breaking new ground by adopting perspectives that are currently lacking in the historiography of psychedelics, this collection adds to the burgeoning field by offering important discussions on underexplored topics such as gender, agriculture, parapsychology, anarchism, and technological innovations.

In the wake of the end of the Cold War and worldwide protests against corporate globalization, anarchism continues to attract new adherents among both aging leftists and new generations of young radicals. Arena aims to tap into this revived interest in libertarian ideas, culture and practice by providing a dynamic focal point; a journal that brings together good, stimulating and provocative writing and scholarship on libertarian culture of all kinds. Designed for a general, intelligent, popular readership as well as for scholars and aficionados working in the area, the first issue of Arena focuses on film and video - historical and modern - and future issues will cover the entire spectrum of the arts; film, theatre, and art criticism as well as political theory and practice, reportage, letters, reviews, and unpublished fiction and nonfiction.

The history of anarchist-Marxist relations is usually told as a history of factionalism and division. These essays, based on original research and written especially for this collection, reveal some of the enduring sores in the revolutionary socialist movement in order to explore the important, too often neglected left-libertarian currents that have thrived in revolutionary socialist movements. By turns, the collection interrogates the theoretical boundaries between Marxism and anarchism and the process of their formation, the overlaps and creative tensions that shaped left-libertarian theory and practice, and the stumbling blocks to movement cooperation. Bringing together specialists working from a range of political perspectives, the book charts a history of radical twentieth-century socialism, and opens new vistas for research in the twenty-first. Contributors examine the political and social thought of a number of leading socialists—Marx, Morris, Sorel, Gramsci, Guérin, C.L.R. James, Hardt and Negri—and key movements including the Situationist International, Socialisme ou Barbarie and Council Communism. Analysis of activism in the UK, Australasia, and the U.S. serves as the prism to discuss syndicalism, carnival anarchism, and the anarchistic currents in the U.S. civil rights movement. Contributors include Paul Blackledge, Lewis H. Mates, Renzo Llorente, Carl Levy, Christian Høgsbjerg, Andrew Cornell, Benoît Challand, Jean-Christophe Angaut, Toby Boraman, and David Bates.

Between working men and women (which may include “free” wage earners, chattel slaves, indentured labourers, sharecroppers, domestic servants, and many others) and those employing them, there has always been a constant – mostly silent but sometimes overt – struggle concerning employers’ discretionary power and over the interpretation of formal and informal rules. There is a constantly shifting frontier of control, that is, an ongoing struggle for control in the workplace, with managers and supervisors trying to increase their power over their subordinates, and their subordinates, in reaction, trying to maintain and increase their relative autonomy. The detailed case studies in this volume span three centuries and cover different parts of the world. Still, they speak to each other in many ways, highlighting the fact that power at work, whether on the shopfloor or beyond, results from a wide range of complex interrelations. Between technological innovations and the ways in which they are actually implemented. Between the division of labour at the site of production or service provision and changing standards of social segmentation beyond the premises of the company, which can be reinforced – or weakened – by management strategies of utilizing labour power as well as workers’ reaction to these strategies. And finally, between politics in production, which shape the relations between capital and labour on the shopfloor, and state politics of production, which cannot be understood without reference to broader developments in economy and society.

On a Sunday afternoon in the spring of 1969, thousands of people defied Auckland city bylaws and came to party in Albert Park. A rock band played on the rotunda. Some people held hands, some danced alone, some sat under trees with guitars, flutes and bongos and made music of their own. They wore kaftans, ponchos and leather-fringed jerkins, floppy hats, headbands, beads and flowers. Poetry and political diatribes were delivered from a podium, improvised from an upturned tea chest. There were bikies, balloons, bubbles, sack races and a lolly scramble, lots of dogs and a pet possum. Someone brought a canoe and paddled it around the fountain, until it capsized. As the afternoon wore on there were joss sticks, skyrockets and what some will have recognised as the musky smell of marijuana. . . —From the PrologueIn Jumping Sundays, award-winning writer and broadcaster Nick Bollinger tells the story of beards and bombs, freaks and firebrands, self-destruction and self-realisation, during a turbulent period in New Zealand's history and culture.

More than thirty years of the author's commentary on music and culture is sampled in this collection of contentious and perceptive writings that examine such diverse topics as Mariah Carey, Public Enemy, Disco, hip-hop, The New York Dolls, Europop, metal, and more. Simultaneous.

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.