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                  <text>The Troops Out Movement  was formed in West London in 1973 by Irish solidarity activists. A campaigning organisation committed to bringing an end to British rule in the North of Ireland,  Troops Out Movement has two aims: British Troops Out of Ireland and Self-determination for the Irish People as a Whole.</text>
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              <text>Neil Gordon Orr</text>
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                <text>London Troops Out minutes of Branch Meeting</text>
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                <text>18.12.1995</text>
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                  <text>A small collection of Republican ephemera from the late 1960s and 1970s during the first years of the troubles. These include an extremely rare nearly complete run of the newssheet ‘Free Citizen’, and its subsequent incarnation ‘Unfree Citizen’.  Also included in the collection are copies of the republican feminist journal ‘Banshee’, a number of copies of ‘An Phoblacht’, related ephemera including some materials from the Troops Out Movement, and a small number of posters.</text>
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                  <text>Jenny Earle</text>
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                <text>27.10.2022</text>
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            <description>A name given to the resource</description>
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                <text>Long Live the Class War</text>
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                <text>7.09.2024</text>
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                  <text>Reclaim The Streets &amp; Associated</text>
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                  <text>Reclaim the Streets (RTS) began in London during the 1990s, both as a playful form of protest in the guise of a street party, which was soon replicated across the globe and as a local hub of social and ecological direct action. London RTS published the Financial Crimes for the mobilisation against the International Monetary Fund and World Bank’s Prague Summit in September 2000. The situationist practice of détournement (diversion, hijacking or misappropriation) informed the production of this and other spoof papers, such as the Evading Standards (also issued by RTS for the previous year’s ‘June the 18th’ Carnival against Capital in the City of London). This practice entailed abandoning cultural production itself and instead plundering and closely mimicking existing cultural forms to subvert their original intent for propaganda purposes. MayDay Rooms holds a collection of materials relating to Reclaim the Streets and associated networks.</text>
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            <description>A name given to the resource</description>
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                <text>Long live the velorution</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Long live the velorution</text>
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                <text>28.11.2025</text>
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        <name>1990s</name>
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        <name>Anti/Alter-Globalisation</name>
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        <name>Direct Action</name>
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                  <text>A collection of magazines and pamphlets. These include materials from the 1960s through to the 1990s, and range from communist and anarchist materials, to pamphlets from the left of the Labour Party. Of particular interest in this collection are Welsh materials. This includes a number of pamphlets and poetry chapbooks, and four issues of the magazine ‘Rebecca’, which covered many issues in Welsh radical politics in the mid-1970s. The collection also contains a run of ‘Unioneyes’, the news-sheet of Cardiff Trades Union Council, which Alex edited from the mid-1980s through to the early 1990s. This gives a unique and in depth view of rank and file struggles in the later years of the Thatcher administration, and in the wake of the crushing of the Miners’ Strike</text>
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                <text>2020-12-31</text>
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                <text>Lord of the Carnage - A literary and sociological study of the human beast's monstrous crimes against other animal species</text>
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                  <text>In 1973, behind a shopfront at 113 Roman Road, London E1, four young filmmakers – Joanna Davis, Mary Pat Leece, Ronald Peck and Wilf Thust – set up a cinema and production studio with the aim of introducing “films and filmmaking to those who had previously been excluded from the whole practice”. In the context of a polarised and politically charged Bethnal Green of the 1970s, many local children and young adults found at Four Corners – and in Wilf Thust’s workshops in particular – a sanctuary where they could explore forms of self-representation and develop vocabularies of commonality, resistance and dissent. These sentiments are shared by MayDay Rooms and since late 2013, Wilf has ‘reopened the account’ – together with some of those involved in the 1970’s workshops and many others – making collaborative use of his film output, notebooks, and photographs. This process, which takes the form of screenings, meetings and workshops, will continue over the next few years.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Original drafts</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>FCGW/WT/4#16</text>
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            <description>A name given to the resource</description>
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                <text>Love</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Miscellaneous Pamphlets</text>
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            <element elementId="41">
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              <description>An account of the resource</description>
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                <elementText elementTextId="2100">
                  <text>Pamphlets have been in existence for as long as the printing press and are often associated with sedition and the distribution of censored and hard to get hold of material. With access to publishing more or less subject to monetary and professional control, the pamphlet has long been a means of subtly appropriating the means of publishing production and bringing ideas into circulation at a low cost. In these post internet times, MayDay Rooms is honouring this form through a growing collection of left libertarian pamphlets donated from many sources as well as by encouraging new publications through its Riso printer.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Emma Goldman</text>
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            <description>An account of the resource</description>
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                <text>Miscellaneous Pamphlets</text>
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                <text>Pamphlet</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Archive Storage Room|Ros Kane</text>
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            <description>A name given to the resource</description>
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                <text>Love Among the Free</text>
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                  <text>Scratch Orchestra</text>
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              <description>An account of the resource</description>
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                  <text>The Scratch Orchestra grew out of a series of music composition classes held at London’s Morley College. The classes were instigated by Cornelius Cardew, Michael Parsons and Howard Skempton and were attended by avant-garde musicians and artists interested in exploring sound. From this, in July 1969, the Scratch Orchestra was formed; it was described, in its draft constitution, as “a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music making, performance, edification.)” The Scratch Orchestra, which drew together varying levels of musical ‘expertise’, performed its ‘music-from-scratch’, often based on written-instruction and graphic scores, in Town Halls, Village Halls, Universities, Youth Cubs, Parks and Theatres. The regularity of performance over its short life-span may well figure the Scratch Orchestra as a musical community; an intense experience of playing, travelling and living together. MayDay Rooms are grateful to Stefan Szczcelkun for depositing his Scratch Orchestra papers which includes documentation of the Richmond Journey and The Scratch Cottage as well as ephemera relating to the Slippery Merchants, a performance subgroup of the Scratch Orchestra that carried out “uninvited performative intrusions”. Stefan’s papers also provide materials relating to ongoing Scratch Orchestra gatherings, commemorations and concerts that have kept Scratch Music in the public eye.</text>
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                <text>tENTATIVELY, a CONVENIENCE</text>
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            <description>A name given to the resource</description>
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                <text>Low Classical Usic</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Women's Liberation Movement</text>
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              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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                  <text>Jenny Earle</text>
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      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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          <name>UID</name>
          <description>Unique ID</description>
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              <text>JE/WLM/0038</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Low Pay and Family Poverty</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Study Commission on the Family</text>
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            <name>Date</name>
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              <elementText elementTextId="29871">
                <text>23.09.2022</text>
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        <name>1980s</name>
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        <name>Feminism</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Psychogeography</text>
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