| Type | Monthly (ceased publication) news magazine |
|---|---|
| Format | Magazine |
| Founded | c1976 |
| Political alignment | Libertarian, leftist, marxist, socialist, feminist, anarchist collective |
| Headquarters | London, England |
The Leveller was a British political magazine, c.1976 to 1982, collectively produced by a shifting coalition of radicals, socialists, marxists, feminists, and others of the British left and progressive movements. It was published during the years of the Labour government of James Callaghan and the beginning of the era of the Conservative administration of Margaret Thatcher. This period was also noted for punk rock, Rock Against Racism and the Anti-Nazi League.
The Leveller was involved in a well-recorded contempt of court case in 1979, which concerned identifying Colonel B, an unnamed witness who had previously testified in a case involving British intelligence and whose name the magazine published in its January and March 1978 issues.[1]
A statement frequently appearing in the magazine, which for most of its life appeared monthly, described it as "An independent monthly socialist magazine produced by the Leveller Collective. Owned by its Supporting Subscribers through the Leveller Magazine Ltd, a society whose AGM controls the magazine."
Members, who met for collective meetings initially in the Euston and Kings Cross areas of north London, and later in Brixton, included: Roger Andersen, Nick Anning, Julia Bard, Imogen Bloor, Dave Clark, Andy Curry, Brian Deer, Tim Gopsill, Cheryl Hicks, Terry Ilott, Phil Kelly, HO Nazareth, Mike Prest, Jane Root, Rose Shapiro, Russell Southwood, Dave Taylor, Adam Thompson, John Verner, Ian Walker. Steve Bell, the cartoonist, was a contributor.
A report on an annual general meeting of 21 July 1979, published in the September issue of that year, stated: "Differences within the collective - for which we had hoped to look to the meeting for answers - remained unresolved. The basic difference is over the impact that writing personally about politics should have on the news, political analysis, and so on, that we print. The collective is still discussing it."
The Leveller was noted on the British left for an eclectic design and visual style, particularly in its cover stories, representing the values and decisions of an open collective, rather than those of traditionally-designated editors, copy editors and writers and reporters. Cover stories during the magazine's life included: