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The Civil War in Yemen: Britain Supports Our Bastards

The poorest country in the Middle East, Yemen (part of which was the former British colony of Aden) has endured years of instability and poor governance. After the 2011 revolution toppled...

Ups and Downs in China

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Pathfinders: Farron, Fossils and Fire Ice

One claim that raised eyebrows during the recent general election was Tim Farron's assertion that the UK could be completely self-sufficient in renewable energy, this despite the Lib Dems' own...

Greasy Pole: Theresa - Strong And Stable

We were told that Theresa May decided, flushed with optimism, to hold a general election on June 8 when she was hiking with her husband through Dolgellau, a small market town lying at the base of...

Editorial: Burning Injustice

So many things about the Grenfell Tower fire continue to stink, even weeks after the disaster. The flames were not even out, nor the bodies counted, before the recriminations and finger-pointing began.

Not surprisingly the building owners, Kensington and Chelsea Council, quickly came under savage criticism for spending £8.6m on a recent refurbishment aimed at creating new rentable space and prettifying the exterior with new cladding, but not bothering to install sprinklers or ensure that the cladding material was fire-proof.

Why, people wanted to know, was there only one fire exit in a building of 120 flats, an exit frequently blocked by rubbish including old mattresses which the council did not remove? And why, when the fire broke out, was there such chaos on the ground with nobody from the council on the scene to establish any kind of central meeting and information point for survivors and anxious relatives?

The Tory Party

'The Tory Party: From The Aristocratic Party to a party representing all sections of the capitalist class'

Glasgow Branch meeting

Recorded: 
Wednesday, 19 September 2012

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The Socialist Party's latest pamphlet

How We Live And How We Might Live by William Morris

William Morris was one of the foremost creative artists of the nineteenth century. Designer of furniture and wallpaper, printer, architect, novelist and poet, Morris was respected by the 'respectable' people of Victorian capitalist society. His upbringing was far from one of poverty. He was born in March 1834 into a wealthy capitalist family. He was sent to public school and then to Oxford where his mother wanted him to train for the clergy. At university Morris fell under the spell of Ruskin who criticised the mechanised, economically regimented nature of industrial capitalism.

As time passed the success of William Morris as a celebrated artist clashed more and more with his understanding that society was dominated by the values of money and profit. What passed as civilisation was merely the rule of Property. What was the point of being creative in a world which regarded creations of art as just a few more expensive commodities to be bought and sold? What was the point of producing great art when the mass of humanity was confined to the drudgery of wage slavery, forced to produce what was cheap and nasty for a mass market which paid no recognition to craft, skill and quality?

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