Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. It is edited by Josh MacPhee and Alec Dunn and published by PM Press.

Signal:01 covered anarchist graphic designer Rufus Segar, Dutch squatter comic Red Rat, the Bay Area graphics collective Taller Tupac Amaru, an interview with a veteran of the Mexico City 1968 Poster Brigades, graffiti writer Impeach, and a photo essay on adventure playgrounds.

Signal:02 featured the Danish art collective Røde Mor,Japanese Esperantist manga from the early 20th century, Oaxacan street art, murals from the Carnation Revolution, underground Bay Area presses from the 60s, and a feature on Mozambique artist Malangatana.

Signal:03 has articles on the Partisan memorials of former Yugoslavia, an interview with Barbara Dane/Paredon Records, graphics of the Quebec student strike, mastheads of Spanish Republican exile, the Medu Arts Ensemble of South Africa, and an anti-imperialist carnival game/portfolio from the 1930s.

Signal 01, 02, and 03 are available from PM Press.

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South Baton Rouge, Louisiana

(via majsaleh)

Odd sticker of a riot cop (i think) from the CNT (Spain) from 1985. Found at KSL.

Odd sticker of a riot cop (i think) from the CNT (Spain) from 1985. Found at KSL.

Freedom Press, fighting the good fight early on. Pamphlet by Mary Louise Berneri, 1944.

More from the KSL, sticker from Germany, 1985: “Workers’ Self-Government Against….”

Poster by the See Red Women’s Workshop, a socialist feminist poster collective that existed in London between 1974-1990.

"The battle of Sutjeska was one of the most hazardous and fragile moments during the war, a turning point for the whole partisan movement. Trapped in the high mountains on the edge of Montenegro and Herzegovina, the partisan general command barely escaped from German and collaborationist troops while thousands were killed in the forests close to the village of Tjentište…

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From Signal:03, some of the headers from a short feature we had on the illegal newspapers of the Spanish anarchist movement. Mostly produced in exile from France and smuggled back into Spain. Epoca clandestina!


'Working Women and the Struggle for Women's Liberation', Organization For Revolutionary Unity, Oakland, California, 1984.


Justice. 2010. #stencils #streetart #justice #oakland

from comrade chris stain!


‘Join Us At The Giant Anti-War March’, Attica Brigade, United States, early 1970’s. Attica Brigade was associated with Revolutionary Union (RU). Poster depicts a Black prisoner in the US and a Vietnamese guerilla. Special thanks to Dennis O’Neill.

Loving the wealth of material being put up by Radical Archive!


"Second, working in ways similar to Medu might relieve us of the burden of being politically effective as individuals. It is as a group, an ensemble, even a class, that we can potentially find political power. This simple idea is so easily lost within the contemporary context, especially in the United States, where the primacy of our individuality is celebrated and reified not only by the mainstream, but by counter culture as well… 

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S: So the Encuentro in Cuba, that became the basis for the first Paredon record?

BD: Well it became also my connection with the world of political singers out there. In a sense, I knew that I had only one or two shots of putting something out from any given movement because we didn’t have the money or resources for more. I had to take the best that I could find and go with it. That’s why there’s such a range for having only 50 titles in the whole label.
If I only had one record from wherever, Chile for example, then I wanted it to be the cutting edge of that. So the Chilean things I have, I have a couple, one I put out without any permissions from anybody. One is a cantata, it’s called Chile: The Siege of Santa Maria de Iquique. At the time I knew nothing about Chilean music except for the Violetta Parra’s children, who were wonderful young performers who came to the Encuentro, so I knew them but I didn’t know anything more about Chilean music. So some Chilean people in New York came to me and said you gotta put something out. They said you gotta put something out and here’s the thing you should put out because it’s this great cantata and it’s all about the Nitrate miners in the Chilean mines. That sounded great! But I had no way of contacting anyone, so I just went ahead and put it out. That’s basically how I did everything. I’d find it and put it out. If I could talk to the person first and make proper arrangements that was fine, but if I couldn’t and it felt urgent to get it out I’d just get it out and make it up later.

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