ANDREW MURRAY is compelled by the moment of revolution in British history when Parliament had political intimacy with society
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As the AfD is welcomed in the UK parliament, ALEXANDER CARTER reminds us how music became a battleground in the 1980s and 1990s, fighting fascism with guitars and microphones
The Star's critic MARIA DUARTE Reviews of Twiggy, Mickey 17, Day of the Fight, and Marching Powder
GAVIN O’TOOLE welcomes a masterful study of gang behaviour in the favelas of Sao Paulo
Helen Colley introduces this year’s ScreenCuba film festival with an exclusive offer to Morning Star readers
DENNIS BROE appreciates the work of TV writer Steven Knight, and his systematic exposure of the debilitating effects of British capitalism
A pamphlet by British Latinx poet Patrick Romero McCafferty, poetry by Anglo-Argentinian Miguel Cullen, and a book of conjuring poems by Mexican Pedro Serrano
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant
IN the 1980s, Britain’s far right was on the rise. Fascist parties fielded over 100 candidates in the 1983 general election. And culturally, the far right was also making ground.
“White power” bands like Skrewdriver and Peter and the Wolf began drawing sizeable crowds and selling thousands of records. In 1987, Skrewdriver’s frontman founded Blood & Honour, a music network that soon gained followers and branches throughout the US and Europe.
Blood & Honour’s emergence caused tremors among the UK anti-fascist movement. Anti-Fascist Action (AFA), the dominant anti-fascist group of the time, struck back with their own musical network: Cable Street Beat (CSB).
