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Sep 24, 21

Three New Zines From 1312 Press

1312 Press is excited to announce the digital release of three new zines. These pamphlets are free to download and distribute. Please reach out to us or your local zine distro if you would like physical copies of these zines. Find zines by 1312 Press and more at Follow us on twitter @1312press and instagram

ZINE: Seven Theses on the Three-Way Fight by Devin Zane Shaw, artwork by Josh Konwinski (

Originally published to the Three Way Fight blog, this essay offers exciting and contemporary perspectives on what the Three-Way Fight analysis can give us in understanding our present moment and deciding how to act as militant anti-fascists, differentiating ourselves from a liberal anti-fascist stance.

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ZINE: Never Surrender – A History of the Antifascist Skinhead Movement

This zine collects two essays that explore the inherently anti-racist roots of skinhead and punk culture. The first essay, “A History of Skinhead Culture (And How Nazis Appropriated It)” provides a great introduction to skinhead culture and its working class Jamaican and English immigrant roots. Largely, this essay argues against the false stereotype that punk is simply a white culture, reminding us that it was started by Black and POC musicians. The second essay, written by R.A.S.H. Guadalajara & Mutuo Producciones, unavailable online until now, chronicles the rise of S.H.A.R.P. (Skinheads Against Racial Prejudice) and R.A.S.H. (Red & Anarchist Skinheads) within the punk and skinhead subcultures as a militant accompaniment to political and cultural anti-fascist organizing.

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ZINE: Rank & File Antiracism – Historicizing Punk and Rock Against Racism by Stuart Schrader, pictures by Syd Shelton

This zine explores the history of Rock Against Racism, an anti-racist music festival started in London in 1976 to add a cultural component to the fight against racism and fascism across England. Excerpts from the zine: Rock Against Racism, founded in London in 1976, was an effort to reorient pop music toward a substantive commitment to antiracism, which included concerts, fanzines, records, and mass protest, as well as support for self-defense against street violence by the Far Right.

Rock Against Racism demanded that music, particularly punk and reggae, not be escapes from the everyday, the street, and politics, but be deeply informed by and answerable to these domains. Rock Against Racism attempted to make explicit the implicit promise of agency and social transformation that punk rock’s inchoate subcultural rebellion promised. These upstarts were trying to prove that punk aesthetics and antiracist political organizing might cohere. To them, popular culture mattered, it was vibrant, and it was politically up for grabs. Practically, according to Syd Shelton, a member of the organizing committee and RAR’s most prolific photographer, “The SWP did supply troops on the ground: people to put out leaflets; put up posters; sell badges and our fanzine.”

As a result of these efforts, circulation of Temporary Hoarding peaked at over twelve thousand copies, and more than one hundred thousand people attended each of the two London “carnivals” RAR organized in 1978. Thompson’s fellow social historian Raphael Samuel described the first RAR carnival as “the most working-class demonstration I have been on” and a unique enough event “to have sensibly changed the climate of public opinion.”

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