Audio + Video
Above is the new single “Tell Ya” by rapper, lyricist, and poet Saint Jame from his new E.P. Impressions. “Tell Ya” is produced by Mighty Mizu. You can check out more of Saint Jame's music on SoundCloud. Saint Jame's new E.P. Impressions is also available for streaming, downloading, and purchasing on Bandcamp. Be sure to check out Saint Jame's artist statement below. – The Editors
The harsh noise EP Old Mole by St. Guillotine & The Red Mass is a musical séance of the ghost of Vladimir Ilyich Lenin. The intention of this work is to reinvigorate the spirit of Lenin within the consciousness of the working class through meditative contact with the dead revolutionary. This EP a part of St. Guillotine's ongoing propaganda campaign to spread The Communal Order of the Ouroboros. The Communal Order of the Ouroboros is an open coven for all communist witches, warlocks, and other magical and/or mystical Marxists. The only initiation to become a member of this anonymous coven, is to become possessed by the Spectre of Communism (the communal ghost of every living and dead communist).
The harsh noise, glitchcraft album NJENA by St. Guillotine & The Red Mass is an experimental, musical sigil (an inscribed or painted symbol considered to have magical power) which acts as a meditative soundtrack to the adepts initiation into The Communal Order of the Ouroboros. The Communal Order of the Ouroboros is an open coven for all communist witches, warlocks, and other magical and/or mystical Marxists. The only initiation to become a member of this anonymous coven, is to become possessed by the Spectre of Communism (the communal ghost of every living and dead communist). Through communion with the Spectre, the class consciousness of the adept is raised, and the initiate gains the revolutionary magical skills necessary to combat Moloch and the dictatorship of capital.
Recent years have seen an application of the Marxist concept of uneven and combined development (UCD) to the study of cultural and aesthetic production. With a few exceptions, however, this application has been limited to the medium of literature.
This panel interrogates the framework of UCD and aesthetics through questioning the nature of the relationship and expanding said framework into music and visual art. It also discusses the relationship between aesthetics and the geographic changes of neoliberalism.
There are those days that seem longer than most. Days when I want to hole up in my crummy corner of the planet apartment complex and never leave. Usually I'm a very social being but we live in a wild world ya'll and sometimes it all feels like too much. Bad friends, bad times, bad relationships, bad vibes. I close my doors, close my eyes, and find reassurance. "Eyelids", produced by Dalessio and I, is an attempt to explore that thought. Hopefully I can uncover the same kind of lyrical honesty throughout my upcoming E.P. Impressions as I did in this single.
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.
Red Wedge presented two panels at last month’s Historical Materialism conference in Toronto. The first panel was designed to expound on the theme of our second issue, “Art Against Global Apartheid,” which was officially launched at the conference. The following presentations were part of the panel:
- “Time/Space/Resistance and the Aesthetics of Neoliberalism” by Alexander Billet
- “Bitch Better Have My Marxism: Notes On the Intersection of Politics and Pop Culture” by Crystal Stella Becerril
- “November Network of Anti-capitalist Artists” by Adam Turl
In October, 2015 Red Wedge's Adam Turl gave a lecture, "For Art as Epic Theater" at the Brett Wesley Gallery in Las Vegas, Nevada and Project 1612 in Peoria, Illinois. These artist talks coincided with the "13 Baristas" exhibit in Las Vegas and the "Kick the Cat" show in Peoria. The audio above is from the Las Vegas presentation and includes the discussion that followed. The lecture ends around the 45 minute mark. Turl makes the case for seeing the art space as a theatrical space. In addition he advocates for the alternating of distancing and non-distancing artistic tropes. Finally, Turl argues for Epic narratives in art. This includes the ancient mythological nature of the Epic as well as the inclusion of a multiplicity of proletarian narratives (neither idealized nor detached from social and economic relationships). Turl would like to thank both galleries, and the generosity of the Brett Wesley Gallery in particular, for their help in facilitating both the exhibitions and artist presentations.
Contemporary capitalism has produced stark and contradictory forms of development that by extension produce equally contradictory ways of understanding culture and the phenomenon of cultural exchange. The exchange of commodities, ideas and forms of artistic expression has always been a feature of capitalist development. Neoliberalism, however, has accelerated and accentuated these phenomena; therefore the left must reconsider the way we engage with questions of culture and cultural exchange.
The term “cultural appropriation” is one such attempt at engaging with cultural exchange, and one which has moved into common parlance among the radical left over the past decade. However, much of the theory that has emerged to explain cultural exchange, although rooted in an anti-racist instinct, is a product of post-colonial theory.
We made this song in memory of Larry Jackson, We made this song for LaKiza.
We made this song for the community.
We made this song to heal.
We made this song to pressure the judge to NOT DISMISS THE CASE.