Sure, no problem. Just sent along some scans of the original, as well as a typed-up version that should be more useful for extracting text.

Hey Shawn,

Concerning other items in addition to what you've got -- do you have a copy of the Philly Social Science Club's A CATECHISM OF ANARCHY (1902)? If not, I'd be happy to send you a copy.

One of my pet theories is actually that the growing use of nonviolent civil disobedience, boycotts, labor strikes and tax resistance tactics, during the First Intifada, were the primary reason that the Israeli government effectively brought the PLO back in from exile in order to serve as counterpart for the Oslo accords and to manage the PA: when put to it, they needed a conventionally political and paramilitary organization that they could make treaties with, manage and control as necessary; whereas the leaderless resistance and the use of non-compliance and economic tactics, in the occupied territories was rapidly spinning out into something fundamentally unmanageable. The presence of a traditional political entity was necessary to co-opt it, and thus ultimately make it possible to manage and contain it.

Hey Crispy,

Of course, part of what makes it even crazier is that something like the second piece I posted, a cover from Gwar, is a sort of spectacle and theater which is itself at the far end of a historical development of the blues, and a sort of fairly purist, roots-oriented masculine blues-guitar revival in rock and roll in the mid 1960s. So you start out with one of the big moves towards an aesthetic of naturalness and authenticity, but at the end of the day you end up with (among other things) Oderus Urungus in full prosthetics. (And yet also within even the most fantastical and spectacular subgenres of metal, no matter how high the stage-blood or pyrotechnics bill gets, you still also have a musical and fan milieu that is obsessed with calling out fakeness, with an ethos of authenticity, etc. -- but authenticity to what, exactly?)