"I'm most concerned about my people, I want to give them peace, So I'm making sure they stay in line with my army and police. . . If you don't like religion you can be the antichrist, If your tired of politics you can be an anarchist. . . smash the misfits who foul up their scene, With the practical, tactical, killing machine""You're the child in their garden, The dog on their lead. . . They'd love to bust my head, They'd love to see me cop-out, Love to see me dead""They say I wouldn’t have to live from bins. If I would go along, confess my sins. Well they say they’re going to send me away. Said they’re going to make me pay. We’re sorry but you have to go. You were naughty, you said ‘NO’. You’re a part of our machine because we want you to be. We’ve got you now and you’ll never be free. We’ll crucify you like we crucified him. We’ll make you obey our every whim. We got the power, the power and the glory. I’ve heard that before in a different story. But the story I heard covered up the truth, didn’t touch on the actual factual proof. Didn’t say about the bodies in the concentration camps, They say that I had better keep quiet [they'll take my life,] but I can always use my knife.""On the third of September 1975, Phil Russell, alias Phil Hope, alias Wally Hope, alias Wally, choked to death on his own vomit; blackberry, custard, bile, lodged finally and tragically in the windpipe. Blackberry, custard, bile, running from his gaping mouth onto the delicate patterns of the ornamental carpet. He died a frightened, weak and tired man; six months earlier he had been determined, happy and exceptionally healthy; it had taken only that, short time for Her Majesty’s Government’s Health Department to reduce Phil to a puke covered corpse. By the late sixties, straight society was beginning to feel threatened by what its youth was up to; it didn’t want its grey towns painted rainbow, the psychedelic revolution was looking a little bit too real and it had to be stopped. Books were banned, bookshops closed down. Offices and social centres were broken into and their files were removed, doubtless to be fed into the police computers. Underground papers and magazines collapsed under the weight of official pressure, galleries and cinemas had whole shows confiscated. Artists, writers, musicians and countless unidentified hippies got dragged through the courts to answer trumped-up charges of corruption, obscenity, drug-abuse, anything that might silence their voice;" -Penny Rimbaud (The Last Of The Hippies — An Hysterical Romance)----Rimbaud, Penny. Last of the Hippies: An Hysterical Romance. Pm Press, 2015.Gosling, Tim. "Not for sale”: The underground network of anarcho-punk." Music scenes: Local, translocal, and virtual (2004): 168-186.Haworth, Robert. "A Crass Course in Education." Spinning Popular Culture as Public Pedagogy. Brill, 2017. 107-115.["As I sift through punk albums from the 1980s, the artwork on the sleeves (not to mention the etched out grooves of analog music within these cardboard gems) brings back memories of resistance, anger, joy, and frustration. The emotional impact is overwhelming. In many instances, the significance of one cover has connections to another. Moreover, these images are embedded in my own complex experiences during my youth. A larger question comes to mind, “Is it possible to choose an album cover that represents how I, or better stated, ‘we,’ experienced punk?"]Thompson, Stacy. "Crass commodities." Popular Music and Society 27.3 (2004): 307-322.["“Crass became an unwilling legend. Their complete control over their records and their unbridled assault on all things authoritarian made them the reluctant leaders of an anarcho-punk movement that was about anything but leaders” (qtd. in Rimbaud 303). What Crass was about was an attempt to carve out a non- commodified cultural space inside a late capitalist economy that seemed capable of co-opting any cultural production, no matter how aesthetically or economically resistant to the commodity market, for its own ends. In 1984, Rimbaud and the other members of Crass believed that they had failed."]Bennett, Samantha. "Songs about fucking: John Loder's southern studios and the construction of a subversive sonic signature." Journal of Popular Music Studies 29.2 (2017): e12209.["By the early 1980s, Southern Studios was synonymous with independent artists, many of whom brought with them subversive, alternative, and anarchist politics (Cross, 2014), including The Subhumans, Rudimentry Peni, Poison Girls, and Babes in Toyland, and classic recordings: Ministry’s The Land of Rape and Honey (1988), The Jesus and Mary Chain’s Psychocandy (1985) and Therapy?’s Nurse (1992) are just three notable albums recorded in their entirety or in part at Southern Studios."]Sabin, Roger. "Gee Vaucher at the Horse Hospital Gallery, London, July 2001." Visual Communication 1.2 (2002): 223-227.["Gee Vaucher is a British illustrator best known for her work with the anarcho-punk band Crass in the early 1980s. In terms of her age, however, she was not from the punk generation and, having graduated from art school in the late 1960s, pursued a pre-Crass career in the commercial world, including illustrations for Rolling Stone and New York Magazine. It was during this period that she developed her characteristic collage technique, much influenced by Hanna Hoch and John Heartfield (but which was also a product of magazine deadlines: collage was evidently quicker and easier than any other form of artwork). But it was the Crass years that were her making. Crass were essentially a collective: a band, a commune and a movement."]Cross, Rich. "‘Take the toys from the boys’: Gender, generation and anarchist intent in the work of Poison Girls." Punk & Post-Punk 3.2 (2014): 117-145.Raposo, Ana. "Never Trust a Hippie: The Representation of ‘Extreme’Politics in Punk Music Graphics and the Influences of Protest and Propaganda Traditions." (2011).Crossley, Nick. "Music sociology in relational perspective." The Palgrave Handbook of Relational Sociology (2018): 601-619.["When workers at a record plant refused to press Asylum, the (anti-religious) first track on their Feeding of the 5000 EP, UK punk group Crass replaced it (for the first pressing) with two minutes of silence, which they titled The Sound of Free Speech. In both of these cases the musician/composer makes no sound."]----Subhumans:Binns, Rebecca. "It’s your world too, you can do what you want”: the role of subcultural activism in Stop The City protests (1983-1984) and its implications for political protest in Britain’." Contemporary British History 37.1 (2023): 63-88.["This article explores the role of subcultural activism in the Stop the City Protests (STC), 1983-1984. It shows how protestors broke with the consensual approach of overarching political organisations, chiefly the Campaign for Nuclear Disarmament (CND), using direct action tactics to shut down the City of London, which was emerging as a strategic centre for globalised capitalism. STC is shown to be on a continuum with the radicalism of the preceding decades, with bands, including Crass and Poison Girls bridging the gap to anarcho-punk. This article innovates by combining official evidence, in the form of police briefing notes, with ‘ground-up’ activist materials and fanzines, to evaluate the approach and ideology of the protestors and the police, thereby tracing the increasingly intolerant policing methods that were adopted during key political battles of the 1980s, including The Miners’ Strike and The Battle of the Beanfield. Questioning the extent to which Thatcherism was the hegemonic project of the 1980s, it demonstrates how STC was at odds with the contemporaneous corporatisation of political activism, and thereby provided a model for the road protests and Reclaim the Streets movement of the 1990s, and fed into the anti-globalisation and environmental movements of the 21st century."]Armstrong, John. "Direct Action: Memoirs of an Urban Guerrilla Ann Hansen."["THE AUTHORS OF Direct Action and Guilty of Everything made their mark in BC popular culture during the first few years of the 1980s. John Armstrong was a creative force in Vancouver's independent rock music scene, while Ann Hansen made her mark with a bang — literally — as a member of the urban guerrilla group Direct Action, better known after their arrest as the Squamish Five. Direct Action does offer a glimpse of the relationships that were formed between some of the city's radical activists and punks in the late 1970s."]Beadle, Scott. "Direct Action: Memoirs of an Urban Guerrilla/Guilty of Everything." BC Studies 136 (2002): 146.Martin, Eryk. "The Blurred Boundaries of Anarchism and Punk in Vancouver, 1970–1983." Labour 75 (2015): 9-41.["On 1 July 1978, while crowds across Canada gathered to celebrate the national holiday, several hundred people gathered in Vancouver’s Stanley Park for an anti-Canada Day punk concert, organized by local anarchists. Although these anarchists supported punk’s eclectic and energetic sounds, it was clearly understood by most that they were not of the punk community in the same way that the performers were. Generally, the activists that made up Vancouver’s anarchist projects and tendencies were roughly a decade older than the bands and audiences that assembled in the park, with personal histories rooted in the student New Left, counterculture, feminist, and guerrilla movements of the long sixties, rather than in the closing years of the so-called cynical seventies associated with the rise of punk."]Dines, Mike. "Learning through resistance: Contextualisation, creation and incorporation of a ‘punk pedagogy’." (2015).Martin, Eryk. "Ian Glasper, The Day The Country Died: A History of Anarcho Punk, 1980-1984 (Oakland, CA: PM Press, 2014)." Left History: An Interdisciplinary Journal of Historical Inquiry and Debate 19.2 (2015).----Also see:[Subhumans][Naked Aggression][the Death of the American Dream (Lykaion Publishing, 2014)][Alan Antliff collection (University of Victoria)]["Anarchist Jurisdictions"][Crass (You've Got Big Hands)][Crass (Do They Owe Us a Living?)][Crass (Big A, Little A)][Crass (So What?)][Crass (They've Got a Bomb)][Crass (Bomb Plus Bomb Tape)]Dines, Mike, and Alastair Gordon. "The Punk Scholars Network in Association with Cultural Exchanges presents: Penny Rimbaud." (2014).Binns, Rebecca. "Crass art and the birth of anarcho-punk." Gee Vaucher. Manchester University Press, 2022. 97-121.Cross, Rich. "'There Is No Authority But Yourself': The Individual and the Collective in British Anarcho-Punk." Music and Politics 4.2 (2010).Binns, Rebecca. "Post-punk, hardcore and the dissolution of the dream." Gee Vaucher. Manchester University Press, 2022. 122-151.Dunn, Kevin. "Anarcho-punk and resistance in everyday life." Punk & Post-Punk 1.2 (2012): 201-218.Glasper, Ian. Day the Country Died: A History of Anarcho Punk 1980–1984. PM Press, 2014.O’Connor, Alan. "Towards a field theory of punk." Punk & Post-Punk 5.1 (2016): 67-81.Dines, Mike, and Gregory Bull. "Some of us scream, some of us shout: myths, folklore and epic tales of the Anarcho." (2016).Dines, Mike. "Let your self-determination over-ride indoctrination: Dick Lucas, culture shock and the anarcho of the everyday." (2016): 251-265.Kafara, Rylan. "Here We Are Now, Educate Us”: The Punk Attitude, Tenets and Lens of Student-Driven Learning." Punk pedagogies: Music, culture and learning (2017).Sutherland, Sam. Perfect Youth: The Birth of Canadian Punk. Ecw Press, 2012.Murphy, Michael Mary. "Too Old to Die Young: Paranoid Visions, Punk Rock, and Me, Peter Jones (2020)." Punk & Post Punk 10.1 (2021).----"Road Dogs" & "Scum Fucks": Transversality in American Culture https://archive.org/details/crusty_kids/World Trade Organization: Protest Movement 1999 (Globalization) https://archive.org/details/wto_1999_protest-footageCascadia Forest Alliance & Cascadia Media Center (Cooperatives) https://archive.org/details/cascadia_cfathe Founding of US National Environmental Movement Organizations (1962–1998) https://archive.org/details/johnson_frickel2011Green Anarchy https://archive.org/details/taylor1998/aaltola2010/ECO TERRORISM AND LAWLESSNESS ON THE NATIONAL FORESTS https://archive.org/details/eco-terrorism-and-lawlessness-on-the-national-forests/The Lost Honor of Katharina Blum: How Violence Develops and Where it Can Lead (Die Verlorne Ehre der Katharina Blum) https://archive.org/details/katharina_blum/Portland Intelligence & Analysis report by DHS 2021 https://archive.org/details/dhs_pdx_ia_2021/Where the Rainbow Ends: American Wanderjahres https://archive.org/details/me_and_uncle_dead_sub_nyc_202209