Illuminates the life and image of one of New York City's most fashionable criminals-Celia Cooney Ripped straight from the headlines of the Jazz Age, The Bobbed Haired Bandit is a tale of flappers and fast cars, of sex and morality. In the spring of 1924, a poor, 19-year-old laundress from Brooklyn robbed a string of New York grocery stores with a "baby automatic," a fur coat, and a fashionable bobbed hairdo. Celia Cooney's crimes made national news, with the likes of Ring Lardner and Walter Lippman writing about her exploits for enthralled readers. The Bobbed Haired Bandit brings to life a world of great wealth and poverty, of Prohibition and class conflict. With her husband Ed at her side, Celia raised herself from a life of drudgery to become a celebrity in her own pulp-fiction novel, a role she consciously cultivated. She also launched the largest manhunt in New York City's history, humiliating the police with daring crimes and taunting notes. Sifting through conflicting accounts, Stephen Duncombe and Andrew Mattson show how Celia's story was used to explain the world, to wage cultural battles, to further political interest, and above all, to sell newspapers. To progressives, she was an example of what happens when a community doesn't protect its children. To conservatives, she symbolized a permissive society that gave too much freedom to the young, poor, and female. These competing stories distill the tensions of the time. In a gripping account that reads like a detective serial, Duncombe and Mattson have culled newspaper reports, court records, interviews with Celia's sons, and even popular songs and jokes to capture what William Randolph Hearst's newspaper called "the strangest, weirdest, most dramatic, most tragic, human interest story ever told."

At first glance, contemporary popular culture, filled with bleak images of the future, seems to have given up on the possibility of positive collective change. Below the surface, however, alternative culture is rife with artist-led projects, activist movements, and subcultural communities of interest that seek to spark the collective imagination and to encourage hunger for alternatives. More playfully self-conscious than past utopian movements, today's are often whimsical or ironic, but are still entirely earnest. Artists invite us to re-author city maps, or archive individual ideas for the future, while maker collectives urge us to rethink our relationship to consumer goods. All seem to have grown out of a similar do-it-yourself ethos and alternative culture. One of the central conflicts informing these case studies is that while it remains immensely difficult to envision anything outside of the current system of consumer capitalism, there is nevertheless a powerful desire to take it apart in piecemeal ways. We see the longing for new social and political narratives, new forms of communion and sociability, and new imaginings of the possible, longings that are currently unmet by mainstream culture, but that are taking expression in myriad ways at the local level. Taken as a whole, this collection examines what our grand ideals and playful daydreams tell us about ourselves.

This reader brings together scholars from different eras, cultures and geographic locations. With this diversity of voices, the book opens a dialogue about the social power of art and how change is envisioned by deliberately juxtaposing radically different conceptions of art and activism.  Among the writers included are: James Baldwin, Lucy Lippard, Herbert Marcuse, Audre Lorde, Trinh T. Minh-ha, Rabindranath Tagore, John Dewey, John Berger, Augusto Boal, Franz Fanon, Raymond Williams, Jacque Ranciere, Rosalyn Deutche, Stuart Hall, bell hooks, Mikhail Baktin, Octavia Butler, and W. E. B. DuBois. The reader focuses on concepts that scholars have grappled with as to how art and politics can combine to achieve social change. It deliberately does not include case studies or manifestos.  Rather, the texts are organized thematically: Art Unsettles: Social Systems and Critique; Art Reveals: Making the Invisible Visible; Art Resists: Everyday Interventions; Art Acts: Activism as Art; Art (Re)Orders: Making Sense of the World; and Art Imagines: Envisioning New Worlds. This thematic structure allows the reader to engage with different perspectives with the theme for engaged dialogue. Each thematic section opens with a brief essay by the editors framing the central conceptual concerns that follow.

Elegantly written and charmingly illustrated, The Activist Angler shows how lessons learned from angling can guide political activism and vice versa. Patience, preparation and precision are needed to catch fish . . . and to build a movement. Looking for a retreat during the stress of the pandemic, the activist and teacher Steve Duncombe took up fishing, a sport he had abandoned in his youth. After many years away from his rod, he had to re-learn how to fish and approached the practice with what Zen masters call “Beginner’s Mind.� Having no recent experience to fall back on, every fish successfully caught or line hopelessly snarled served as a lesson. Hours spent doing little more than casting and retrieving meant plenty of time to think. One of the things Steve thought a lot about was activism. The art of angling, he discovered, has a lot to teach about the art of activism. The Activist Angler brings together these lessons in an engaging journey from the street to the beach and back. The format is simple: one reflection on fishing followed by another on what might be learned and applied to activism, with each accompanied by an illustration. Topics range from telling fish stories and the trap of activist nostalgia, to the impossibility of thinking like a fish yet the necessity for an organizer to understand their audience, with detours through reflections on self-care, catch-and-release, and taking responsibility for the human cost of one’s political actions.

The Art of Activism is an all-purpose guide to artistic activism, combining the creative power of the arts to move us emotionally with the strategic planning of activism necessary to bring about social change. With contemporary case studies and historical examples, chapters on cultural and cognitive theory, sections on what can be learned from unlikely sources like popular culture and marketing techniques, along with investigations into ethics and evaluation, explorations of the creative process and the importance of utopian thinking, and an attached workbook with over fifty exercises to practice, the co-founders of the Center for Artistic Activism take readers step-by-step through the process of becoming, or becoming even better, artistic activists.

The Open Utopia is a complete English language edition of Thomas More's Utopia that honors the primary precept of Utopia itself: that all property is common property. Licensed under Creative Commons, The Open Utopia conveys this message and continues the tradition. But Utopia is more than the story of a far-off land with no private property. It's a text that instructs us how to approach texts, be they literary or political, in an open manner: open to criticism, open to participation, and open to re-creation. Utopia is no-place, and therefore it is up to all of us to imagine it.

Opinion polls, volatile voting patterns, and street protests demonstrate widespread dissatisfaction with the current system, yet the popular response so far has largely been limited to the angry outcries. But negation, by itself, affects nothing. The dominant system doesn't dominate because people agree with it; it rules because we're convinced there is no alternative.

We need to be able to imagine a radical alternative - a Utopia - yet we are haunted by the disasters of "actually existing" Utopias of the past century, from fascism to authoritarian socialism. In this re-issue of Thomas More's generative volume, scholar and activist Stephen Duncombe re-imagines Utopia as an open text, one designed by More as an imaginal machine freeing us from the tyranny of the present while undermining master plans for the future. In this volume Utopia is re-imagined and brought into the participatory digital age as a technology for undermining authority and facilitating new imagination.

From the Clash to Los Crudos, skinheads to afro-punks, the punk rock movement has been obsessed by race. And yet the connections have never been traced in a comprehensive way. White Riot is a definitive study of the subject, collecting first-person writing, lyrics, letters to zines, and analyses of punk history from across the globe. This book brings together writing from leading critics such as Greil Marcus and Dick Hebdige, personal reflections from punk pioneers such as Jimmy Pursey, Darryl Jenifer and Mimi Nguyen, and reports on punk scenes from Toronto to Jakarta.

From the Diggers seizing St. George Hill in 1649 to Hacktivists staging virtual sit-ins in the 21st century, from the retributive fantasies of Robin Hoods to those of gangsta rappers, culture has long been used as a political weapon.

This expansive and carefully crafted reader brings together many of the classic texts that help to define culture as a tool of resistance. With illuminating introductions throughout, it presents a range of theoretical and historical writings that have influenced contemporary debate, providing tools for the reader's own interventions. In these pages can be found the work of Karl Marx, Matthew Arnold, Antonio Gramsci, C.L.R. James, Bertolt Brecht, Walter Benjamin, Theodor Adorno, Virginia Woolf, Mikhail Bakhtin, Stuart Hall, Christopher Hill, Janice Radway, Eric Hobsbawm, Abbie Hoffman, Mahatma Gandhi, Dick Hebdige, Hakim Bey, Raymond Williams, Robin Kelley, Tom Frank and more than a dozen others, including a number of new activists/authors published here for the first time.