the fact companies is underground mind supporting these "revolutionary sheets; the failure of Hearst's Eye magazine after a year showed that the establishment itself should not me dia to reach the kids, squeamish is it about advocating revolution, drugs and sexual liberation. Bat it is glad to support the media the kids create themselves, and thereby, just as it did with rock, ultimately defang it.
The ramifications of control finally came full circle when Rolling Stone, the leading national rock newspaper, which began months ago on a shoestring, had enough money in the bank to afford a $7000 ad on the back page of the New York Times. Not only was this "hip rock" publication self-consciously taking place among une communication giants ("NBC was the day before us and look the day after." said the twenty-two-year-old editor). exploite discou are corporate made clear the paper's exploitive aim. executive trying to understand what happening to youth today, you cannot afford to be without Rolling Stone. If you are a student, a professor, a parent, this is your life because you already know that rock and roll is more than just music; it is the energy center of the new culture and youth revolution." Such a neat reversal of the corporate-to-kids lie into a kids-to-corporate lie is only possible when the kids so believe the lie they have been fed that they want to pass it on.
But rock and roll musicians are in the end artists and entertainers, and were it not for all the talk of the "rock revolution," one would not be led to expect a clear political vision from them. The bitterest irony is that the "rock revolution" hype has come close to fatally limiting the revolutionary potential that rock does contain. So effective has the rock industry been in encouraging the spirit of optimistic youth take-over that rock's truly hard political edge, its constant exploration of the varieties of youthful frustration, has been ignored and softened. Rock musicians, like their followers, have always been torn between the obvious pleasures that America held out and the price paid for them. Rock apd roll is not revolutionary music because it has never gotten beyond articulation of this paradox. At best it has offered the defiance of withdrawal; its "A tool for counter-information at the service of the class struggle: solidarity with industrial, student and tenant strikers, and liberation fronts all over the world. You are invited to participate with information. ideas, slogans, archetypes, designs, and the actual printing of the posters in silk screen. The projects will be voted upon by the assembly on the spot."
This "manifesto which was the first thing to appear on the walls of the Poster Workshop, describes the essence of the activities. or the originally intended activities, of our studio at 61 Camden Road, London, N.W.I. The workshop was started to combat the propaganda of and We believe that the production of perhaps 100,000 posters, tangible political end-product, contributes to a considerable extent to this end. To whom does the workshop SUNNY male poster association groups, Al groups, strikes such Anti-Apart universitic Agitprop several Dwarf A.N.C. boycotts.
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