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why do anarchists write in lower-case?


because they are anti-capitalists!!



Donald Trump saw a little old lady struggling with two heavy bags of shopping,


“You shouldn’t be struggling with those two bags of shopping, let me help,” he said.


So he halved her pension so she could only afford one in the future.




How do you save a drowning Nazi skinhead?


Take your foot off his head!




What’s the difference

between a member of the EDL and a UKIP MP?


About £1,000,000 in the bank.



No gods, no masters is an anarchist and labour slogan. Its

English origin comes from a pamphlet handed out by the

Industrial Workers of the World during the 1912 Lawrence

Textile Strike. The phrase is derived from the French slogan

" Ni dieu ni maître !" (literally 'Neither God nor master') coined

by the socialist Louis Auguste Blanqui in 1880, when he

published a journal by that name. The French phrase appears

twice in Friedrich Nietzsche's 1886 work  Beyond Good and Evil . It appears first in

Section 22, in a critique of the notion that nature dictates a morality of equality before the

law. It appears again in section 202 where he identifies it with the anarchists and as

indicative of their "herd" mentality, which he is criticizing.


In 1914,  Margaret Sanger  launched The Woman Rebel, an eight-page

monthly newsletter which promoted contraception using the slogan "No Gods,

No Masters". Sanger insisted that every woman was the mistress of her own



"Women without superstition:

                                              "No gods – No Masters!" by  Annie Laurie Gaylor 

is a collection of writings by women freethinkers during the 19th and 20th



Today the slogan continues to find use in anarchist politics. An anthology of

anarchist writing was collected under the title No Gods, No Masters: 


Anthology of Anarchism "


The slogan has also found use in musical cultures, largely associated with the

punk movement. But it was used in the first place in the French chanson field,

by the anarchist poet and singer-songwriter  Léo Ferré  who released the song

Ni Dieu ni maître on an EP in 1965. This song, metaphorically depicting the

French death penalty procedure, ends with these verses:

                                                                                          "This slogan that

breaks all the rules / Made for the benefit of fools / Rejecting all authority /

Unless respecting liberty / This principle of human rights / I recommend it for

your fights / We shall proclaim it to the last / No God no master!".

Puppet Masters
No Borders No Nations
no War No Followers
Spread Anarchy


The slogan was also chosen as a song title by the English crust punk/heavy metal band Amebix on their EP Who's the Enemy, Swedish death metal band Arch Enemy on their album Khaos Legions., and Chicago-based hardcore band  Harm's   Way , who released an EP entitled 'No Gods, No Masters' in 2010. "No Gods, No Masters" is one of four possible final quests in  Fallout:

                New Vegas $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$


No God, No Master is a 2012 American independent crime suspense thriller

directed, written, and produced by  Terry Green . The film stars David

Strathairn, Ray Wise, Sam Witwer, Edoardo Ballerini and Alessandro Mario.

No God, No Master was filmed in Milwaukee, Wisconsin. The story includes

references to the 1914 Ludlow Massacre as well as depictions of the Sacco

and Vanzetti trial and the 1920 Wall Street bombing.


When a series of package bombs show up on the doorsteps of prominent

politicians and businessmen in the summer of 1919, U.S. Bureau of

Investigation Agent William Flynn ( David Strathairn ) is assigned the task of

finding those responsible. He becomes immersed in an investigation that

uncovers an anarchist plot to destroy democracy. Based on true events of

the 1920s, the film sets the stage for a timely drama with resoundingly

similar parallels to the contemporary war on terrorism and the role

government plays to defeat it. The disintegration of civil liberties during times

of social unrest is nothing new in America. I set out to make a film about the

Sacco and Vanzetti saga, the anarchist movement they belonged to, and the

cause they dedicated their lives to advancing. Like all stories that need to be understood at the mythic level, this is a part of a nation's history that should inform the present era and future of the country.

Post-World War I was a volatile period in America. The fear of Communism was sweeping the nation. The government began arresting anyone they suspected of being a radical and it didn't take much to get on their list. Immigrants who had worked and lived in the United States for decades were suddenly  labeled undesirables  and detained without due process for several weeks, even months. U.S. Attorney General Alexander Palmer's solution to the problem was the deportation of thousands of naturalized citizens, the vast majority of whom were of Italian and Russian descent.

Events eerily similar to those of the early 20th Century have recurred too many times in our country's history. We haven't learned how to stop the cycle. Until we do, we are all at risk when our leaders suppress the freedoms of ordinary people in the name of national security.

This film is a tribute to those who have stood tall for human rights in the face of adversity.
—Terry Green



                       - THE HOLLYWOOD REPORTER

No God No Master poster


Among the historical figures that are depicted in the film are:

William J. Flynn

J. Edgar Hoover

Mitchell Palmer

John D. Rockefeller

Emma Goldman

Carlo Tresca the anarchist leader who served on the Dewey

Commission to clear Leon Trotsky of the charges leveled by

Stalin Sacco and Vanzetti

Louise Berger an anarchist who plotted to kill Rockefeller

Luigi Galleani, one of Berger’s co-conspirators


Most anarchists, past and present, are atheists.

and Their slogan is:  “No god, No master.”

 Crass  were an English collective and punk rock band

formed in 1977 which promoted anarchism as a political

ideology, a way of life and a resistance movement. Crass

popularised the anarcho-punk movement of the punk

subculture, advocating direct action, animal rights and

environmentalism. The band used and advocated a DIY punk ethic approach to its sound collages, leaflets, albums and films.


Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the  Ouroboros .


The band was critical of punk subculture and youth culture in

general. Crass promoted an  anarchism  which became more

common in the punk-music scene. They are considered art

punk in their use of tape collages, graphics, spoken word

releases, poetry and improvisation.


The band was based around  Dial House , an open-house

community near Epping, Essex, and formed when Dial House

founder Penny Rimbaud began jamming with Steve Ignorant

(who was staying in the house at the time). Ignorant was

inspired to form a band after seeing The Clash perform at

Colston Hall in Bristol, whilst Rimbaud, a veteran of avant

garde performance art groups such as EXIT and Ceres

Confusion, was working on his book Reality Asylum. They

produced "So What?" and "Do They Owe Us A Living?" as a

drum-and-vocal duo. They briefly called themselves Storm-

trooper before choosing Crass in reference to a line in the

David Bowie song "Ziggy Stardust" ("The kids was just crass"). Other friends and household members joined (including Gee Vaucher, Pete Wright, N. A. Palmer and Steve Herman), and Crass played their first live gig at a squatted street festival in Huntley Street, North London. They planned to play five songs, but a neighbour "pulled the plug" after three. Guitarist Steve Herman left the band soon afterwards, and was replaced by Phil Free. Joy De Vivre and Eve Libertine also joined around

this time. Other early Crass performances included a four-date tour of New York City, a festival gig in Covent Garden and regular appearances with the  U.K. Subs  at The White Lion, Putney and Action Space in central London. The latter performances were often poorly-attended:

                                                                  "The audience consisted mostly of us when the Subs played and the Subs when we played".


 Crass at the Cleatormoor Civic Hall, 

 UK, 3 may 1984. 


Crass played two gigs at  the Roxy Club  in Covent Garden, London. According to Rimbaud, the band arrived drunk at the second show and were ejected from the stage; this inspired their song, "Banned from the Roxy", and Rimbaud's essay for Crass' self-published magazine International Anthem, "Crass at the Roxy". After the incident the band took themselves more seriously, avoiding alcohol and cannabis before shows and wearing black, military surplus-style clothing on and offstage.


They introduced their stage backdrop, a logo designed by

Rimbaud's friend Dave King. This gave the band a militaristic

image, which led to accusations of fascism. Crass countered

that their uniform appearance was intended to be a statement

against the " cult of personality ", so (in contrast to many rock

bands) no member would be identified as the "leader".


Conceived and intended as cover artwork for a self-published

pamphlet version of Rimbaud's Christ's Reality Asylum, the

Crass logo was an amalgam of several "icons of authority"

including the Christian cross, the swastika, the Union Jack and

a two-headed Ouroboros (symbolising the idea that power will

eventually destroy itself). Using such deliberately-mixed

messages was part of Crass' strategy of presenting themselves

as a "barrage of contradictions", challenging audiences to

(in Rimbaud's words) "make your own fucking minds up". This

included using loud, aggressive music to promote a pacifist

message, a reference to their Dadaist, performance-art

backgrounds and  situationist ideas . The band eschewed

elaborate stage lighting during live sets, preferring to play under

40-watt household light bulbs; the technical difficulties of filming under such lighting conditions partly explains why there is little live footage of Crass. They pioneered multimedia presentation, using video technology (back-projected films and video collages by Mick Duffield and Gee Vaucher) to enhance their performances, and also distributed leaflets and handouts explaining anarchist ideas to their audiences. Crass' first release was The  Feeding of the 5000  (an 18-track, 12" 45 rpm EP on the Small Wonder label) in 1978. Workers at the record-pressing plant refused to handle it due to the allegedly-blasphemous content of the song "Asylum", and the record was released without it. In its place were two minutes of silence, entitled "The Sound Of Free Speech". This incident prompted Crass to set up their own independent record label, Crass Records, to prevent Small Wonder from being placed in a compromising position and to retain editorial control over their material.


A re-recorded, extended version of "Asylum", renamed " Reality Asylum ", was shortly afterwards released on Crass Records as a 7" single and Crass were investigated by the police due to the song's lyrics. The band were interviewed at their Dial House home by Scotland Yard's vice squad, and threatened with prosecution; however, the case was dropped. "Reality Asylum" retailed at 45p (when most other singles cost about 90p), and was the first example of Crass' "pay no more than..." policy:

          issuing records as inexpensively as possible. The band failed to factor value added tax into their expenses, causing them to lose money on every copy sold. A year later Crass Records released new pressings of "The Feeding of the 5000" (subtitled "The Second Sitting"), restoring the original version of "Asylum".

Crass pete steve andy
crass the best cut of all




                                                                                   In 1983 and 1984, Crass were part of the  Stop the City  actions co-                                                                                             ordinated London Greenpeace which foreshadowed the anti-                                                                                                       globalisation rallies of the early 21st century. Support for these activities                                                                                       was provided in the lyrics and sleeve notes of the band's last single,                                                                                             "You're Already Dead", expressing doubts about their commitment to                                                                                           non-violence. It was also a reflection of disagreements within the group,                                                                                      as explained by Rimbaud; "Half the band supported the pacifist line and                                                                                       half supported direct and if necessary violent action. It was a confusing                                                                                       time for us, and I think a lot of our records show that, inadvertently".

                                                                                   This led to introspection within the band, with some members becoming                                                                                       embittered and losing sight of their essentially-positive stance.

                                                                                   Reflecting this debate, the next release under the Crass name was                                                                                               Acts of Love:

                                                                                                       classical-music settings of 50 poems by Penny Rimbaud,                                                                                         described as "songs to my other self" and intended to celebrate "the                                                                                             profound sense of unity, peace and love that exists within that other                                                                                             self".


                                                                                   Another Crass hoax was known as the " Thatchergate tapes ", a                                                                                                   recording of an apparently accidentally-overheard telephone                                                                                                         conversation (due to crossed lines). The tape was constructed by Crass                                                                                       from edited recordings of Margaret Thatcher and Ronald Reagan. On                                                                                           the 'rather clumsily' forged tape, they appear to discuss the sinking of the                                                                                     HMS Sheffield during the Falklands War and agree that Europe would                                                                                         be a target for nuclear weapons in a conflict between the United States                                                                                       and the Soviet Union.


                                                                                   Copies were leaked to the press via a Dutch news agency during the                                                                                           1983 general election campaign. The U.S. State Department and British                                                                                     Government believed the tape to be propaganda produced by the  KGB                                                                                      (as reported by the San Francisco Chronicle and The Sunday Times). Although the tape was produced anonymously, The Observer linked the tape with the band. Previously classified government documents made public in January 2014 under the UK's 'Thirty Year Rule' reveal that the prime minister was personally aware of the tape and had discussed it with her cabinet.


Crass had become a thorn in the side of Margaret Thatcher's government after the Falklands War. Questions about the band in Parliament and an attempted prosecution by Conservative Party MP Timothy Eggar under the UK's Obscene Publications Act for their single, "How Does It Feel...", made them question their purpose:

                                                                                                                         We found ourselves in a strange and frightening arena. We had wanted to make our views public, had wanted to share them with like minded people, but now those views were being analysed by those dark shadows who inhabited the corridors of power (…) We had gained a form of political power, found a voice, were being treated with a slightly awed respect, but was that really what we wanted? Was that what

we had set out to achieve all those years ago?


The band had also incurred heavy legal expenses for the  1981 Penis Envy  prosecution; this, combined with exhaustion and the pressures of living and operating together, finally took its toll. On 7 July 1984 the band played a benefit gig at Aberdare, Wales for striking miners, and on the return trip guitarist N. A. Palmer announced that he intended to leave the group. This confirmed Crass's previous intention to quit in 1984, and the band split up.


In November 2002 several former members arranged Your Country Needs You, a concert of "voices in opposition to war", as the Crass Collective. At Queen Elizabeth Hall on London's South Bank, Your Country Needs You included Benjamin Britten's War Requiem and performances by Goldblade, Fun-Da-Mental, Ian MacKaye and Pete Wright's post-Crass project, Judas 2. In October 2003 the Crass Collective changed their name to Crass Agenda, with Rimbaud, Libertine and Vaucher working with Matt Black of Coldcut and jazz musicians such as Julian Siegel and Kate Shortt. In 2004 Crass Agenda spearheaded a campaign to save the Vortex Jazz Club in Stoke Newington, north London (where they regularly played). In June 2005 Crass Agenda was declared to be "no more", changing its name to the "more pertinent"  Last Amendment . After a five-year hiatus, Last Amendment performed at the Vortex in June 2012. Rimbaud has also performed and recorded with Japanther and the Charlatans. A "new" Crass track (a remix of 1982's "Major General Despair" with new lyrics), "The Unelected President", is available.

Crass 1979 John Peel Session
Crass Logo
crass whos watching you brixton
crass movie but yourself
crass autopsy
crass uk subs
free spray day crass

Anarchy is the state of a society being freely constituted without authorities or a governing body.


 The material on this site does not necessarily reflect the views of What If? Tees. 

 The Images and Text are not meant to offend but to Promote Positive Open Debate and Free Speech. 

 The material on this site does not reflect the views of What If? Tees. 

 The Images and Text are not meant to offend but to Promote Positive Open Debate and Free Speech. 

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