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*Recently on Red Wedge:* Mathew Caygill on “The Left and the Counterculture” * Red Wedge Editor-in-Chief Alex Billet on “Orlando: A World in Flames” * Thee Mistakes new self-titled EP * Red Wedge editor and artist Adam Turl interviewed by Project 1612 * Red Wedge 2 “Art Against Global Apartheid” Launches in Chicago and Saint Louis * “The Realms of the Unreal”: The Social Genius of Henry Darger * Consumer Grade Film’s new movie project: In Circles * Artwork by Kulog Kuwago <http://www.redwedgemagazine.com/online-issue/?author=5767106a8419c2347522e47c#show-archive> * Alex Billet on Industrial Hip Hop * Colin Revolting on “Rock Against Racism” http://www.redwedgemagazine.com/ *Quantité Negligeable <http://www.redwedgemagazine.com/online-issue/quantit> by **Adam Turl <http://www.redwedgemagazine.com/online-issue/?author=54c8aa5ee4b0338712c8401b#show-archive>* The playwright Bertolt Brecht <http://blogs.ubc.ca/latstudies201/files/2015/01/Brecht_Lukacs.pdf>, in his polemics with the theorist George Lukács argued: "Even those writers who are conscious of the fact that capitalism impoverishes, dehumanizes, mechanizes human beings, and who fight against it, seem to be part of the same process of impoverishment: for they too, in their writing, appear to be less concerned with elevating man, they rush him through events, treat his inner life as quantité negligeable..." *Red Wedge No. 2 Launch (Chicago + St. Louis) <http://www.redwedgemagazine.com/online-issue/launch> by **The Editors <http://www.redwedgemagazine.com/online-issue/?author=54a97cf2e4b0375c084fa556#show-archive>* *Red Wedge* is proud and humbled to be the only English language publication examining all the arts from a Marxist viewpoint. Our second issue, “Art Against Global Apartheid”, dropped in May, and we want you to come celebrate it with us. We will have copies of *RW2* available for purchase, as well as other cool items (posters, pamphlets, etc). If you're new to the publication, a long time reader who wants to show support, or just want to come talk art and radical politics, we expect to see you there. *Wriggling Off the Precipice <http://www.redwedgemagazine.com/online-issue/wriggle-industrial-hip-hop> by **Alexander Billet <http://www.redwedgemagazine.com/online-issue/?author=535dbdd3e4b0c25f42bf86f5#show-archive>* The experimental hip-hop group clipping. have a new E.P. out. It’s called *Wriggle*. The group’s M.C. Daveed Diggs has recently become nothing short of a Broadway celebrity lately since winning a Tony for his role in *Hamilton*. The man is a phenom, an insane talent on the microphone. There’s no question about this. Diggs’ more usual fare with clipping. is, however, of a somewhat different fare. As I’ve put it previously, he’s far more Marquis de Sade than Lafayette, and clipping. fit right in with the insurgence of “industrial hip-hop” we’ve seen over the past few years that also includes the likes of Death Grips. Here’s the title track and lead single from the new E.P. *Support Consumer Grade Film <http://www.redwedgemagazine.com/online-issue/consumer-grade-film> by **Adam Turl <http://www.redwedgemagazine.com/online-issue/?author=54c8aa5ee4b0338712c8401b#show-archive>* Consumer Grade Film <http://www.consumergradefilm.com/>is producing a feature-length movie, *In Circles*, and they need your help <https://www.indiegogo.com/projects/in-circles-feature-film-fundraiser#/>. As they write on their website: *Consumer Grade Film is a U.S. Midwestern collective of filmmakers focusing on low-budget, socially-conscious projects. Our current works in progress include the short, Ubercreep, the feature length film, In Circles, and the YouTube channel, VHS Girl. We are open to collaboration with other filmmakers focusing on similar content.* *Rock Against Racism: Roots, Conflict, Contrast <http://www.redwedgemagazine.com/online-issue/rock-against-racism-roots-conflict> by **Colin Revolting <http://www.redwedgemagazine.com/online-issue/?author=54aff010e4b086f1342ebb06#show-archive>* A collection of anti-racist activist and photographer Syd Shelton’s work from Rock Against Racism has been collected together for the first time. Is this book a nostalgic trip to the bad old days of 1970s racial conflict or does it have something to offer a new generation fighting the changing face of racism in the 21st century? Maybe both? Shelton’s starkly black and white photographs portray the sharp contrasts in 1970s Britain. National Front marchers and anti-racist crowds, the police and the youth on the street, the punks and Rastas, Sikh pensioners and black and white kids, the bands and the audiences. *The Realms of the Unreal <http://www.redwedgemagazine.com/online-issue/realms> by **Adam Turl <http://www.redwedgemagazine.com/online-issue/?author=54c8aa5ee4b0338712c8401b#show-archive>* The model of “self-taught genius” ignores the *social genius* of Darger’s *Child Slave Rebellion*. After all, Darger’s work was shaped by the very real instructors of his life; his kind father, his brutal treatment as a ward of the state of Illinois, the “dead-end” proletarian job that awaited him in adulthood. It is no accident that Darger’s epic illuminated manuscript is, at its core, about a rebellion of child-slaves. Nor are his transgender heroes necessarily a mere accident of individual genius or naïveté. Maybe they are glimpses of the future emancipation that could not yet be articulated. *The Left and the Counterculture <http://www.redwedgemagazine.com/online-issue/left-and-the-counterculture> by **Matthew Caygill <http://www.redwedgemagazine.com/online-issue/?author=57827810c534a5d68f247bdf#show-archive>* *Red Wedge* lost a friend and supporter this past week when Matthew Caygill died. Matthew was a longtime fixture in the British socialist movement and most recently was involved in Left Unity. He was a keen thinker and well-known as a warm and dedicated comrade. His nearest and dearest have our sincerest condolences.Matthew was also someone fascinated with the intersection of arts and radical politics. When those of us with *RW* first encountered him, it was on panel at the Historical Materialism conference in London where he spoke on the connections between the Beatles and the left of the 1960’s, a topic far too often unacknowledged past the most general discussions of John Lennon’s post-Beatles days. In fact, it was the topic of culture and the Left in the Sixties to which he was dedicating his PhD studies. *Wanted: My Oppressor <http://www.redwedgemagazine.com/online-issue/wanted-my-oppressor-kuwago> by **Kulog Kuwago <http://www.redwedgemagazine.com/online-issue/?author=5767106a8419c2347522e47c#show-archive>* I have always believed that art and magic were the same thing. In magic, you can manifest power by manipulating objects. These objects (such as images, symbols, and signs) could be utilized to induce activity on the forces of nature and create different mystical phenomena. This is the main reason why the majority of my works are expressionist ink sketches with figurative representation of resistance against capitalism, patriarchy, racism, imperialism, and other backward manifestations. I believe expressionism is a product of resistance against impressionism and academic art; an art movement charged by emotions, spirituality, and mysticism. *Thee Mistakes E.P. <http://www.redwedgemagazine.com/online-issue/thee-mistakes-ep-audio>** by Thee Mistakes <http://www.redwedgemagazine.com/online-issue/?author=5768848929687fc14c117390#show-archive>* Thee Mistakes was an accident. It did not slip from our tongues fraught with meaning or even mystery; not at first. Much like the systems under which we all live, it was a small idea at first, a placeholder for something better that was yet to come. And like those systems, it stuck. It caught on; we ran with it. Upon some reflection, though, it came to represent a certain truth. It had felt right because our existence, our collaboration, and the fruits of our discourse highlighted that there were errors, in the system, in our art, our lives, and that we, somehow, had begun to address them. *A World In Flames: Orlando <http://www.redwedgemagazine.com/online-issue/world-in-flames-orlando>** by Alexander Billet <http://www.redwedgemagazine.com/online-issue/?author=535dbdd3e4b0c25f42bf86f5#show-archive>* The painting is of Jesus Christ on the cross. It’s very apparent, but also quite jarring in its differences from the iconography of European Christianity in the 20th century. Marc Chagall, the Jewish painter, deliberately estranged and defamiliarized the painting’s subject. The cross on which he is crucified does not have a top and is shaped more like a “T” (as some scholars say many crucifixes were). Christ himself is wrapped in a Jewish prayer shawl. This is not Jesus as Christian messiah we are seeing suffer, but Jesus as Jew. *White Crucifixion* was painted by Chagall in 1938. Kristallnacht, the anti-Jewish pogrom that was officially sanctioned by Nazi minister Joseph Goebbels, had taken place just prior to his starting the painting. It was a plea for the world to acknowledge and pay attention to what was being done to Europe’s Jews at the time. _________________________________________________________ Full posting guidelines at: http://www.marxmail.org/sub.htm Set your options at: http://lists.csbs.utah.edu/options/marxism/archive%40mail-archive.com
