Red Wedge is proud to be contributing to the organizing of the very first Montreal Historical Materialism Conference. Held from May 17-20, it is a bilingual conference, and an excellent chance to break down barriers between English and French speaking activists and scholars. The them of the conference is ambitious: “The Great Transition,” reflecting a sorely needed optimism but also rooted in practical and sober theory.
Read moreWhat is a Struggalo? Inquiry at the Juggalo March
The Struggalo Circus, a group of radical activists who are also dedicated fans of Insane Clown Posse and Psychopathic Records, were finishing their preparations before we headed to the Juggalo March. The four (nom de guerres: Ape, Dimension, Kitty Stryker, and RaiderLo) had split a hotel room in Chinatown, waking up early to don their regalia. Ape, his fully made-up face framed by bleached blonde hair and beard, looked oddly appropriate for the juggalos’ leap into DC protest politics: he wore a suit. “I dress like this all the time,” he told me. During the day he fielded at least a dozen interviews.
Read moreDumpster Pizza Party #3: VHS Girl
Welcome to Dumpster Pizza Party: a podcast about art and DIY counter-culture with your host Craig E. Ross...
My guest today is VHS Girl, as known as the artist and tape-head Katie Winchester. In this podcast we discuss VHS Girl’s artistic journey from VHS collecting to creating paintings of her favorite VHS covers and becoming heavily involved in the DIY outsider art world. We also discuss the Solar Eclipse Comic-Con in Carbondale, IL that we both had the pleasure of participating in as well as movies, breakfast food, nerd culture, and the history of resistance against the KKK.
Read moreThe Time is Now: Art + Walter Benjamin
In early 1940, just before he attempted to escape to Spain from Vichy France, the Marxist theorist and art critic Walter Benjamin penned his Theses on the Concept of History. In twenty numbered paragraphs, Benjamin sketches his vision of the task of the materialist historian. In contrast to the historicist, whose method consists of merely adding “a mass of facts, in order to fill up a homogeneous and empty time,” the materialist historian employs a “constructive” method (XVII), piecing together the “tradition of the oppressed” (VIII) from the rubble of the catastrophic past into a “constellation” (XVII) that most accurately reflects the fragmented character of modern reality.
Read moreThe Barista Who Could See the Future
This video is part of Adam Turl's installation, The Barista Who Could See the Future, on display as part of the Exposure 19: Jumbled Time exhibition at Gallery 210 in St. Louis through December 2, 2017 (also featuring artists Lizzy Martinez and Stan Chisholm). The installation and short video “documentary” above center around the story of Alex Pullman – a coffee shop worker and artist who claimed he had visions of the future. A zine accompanying the installation, supposedly written by Pullman, reads as follows.
Read more"Quite an Experience..." Blade Runner, Marxism, and Postmodernity
Joe Sabatini and Jordy Cummings of Red Wedge spoke with the Winnipeg-based cultural theorist Matthew Flisfeder and had an exchange on Flisfeder’s recent book, Postmodern Theory and Blade Runner, excerpted earlier this month on this site. Flisfeder’s insights transcend the analysis of a single film, rather he offers us new tools with which to engage the popular avant-garde, as well as how we can periodize modernity and postmodernity. A wide-ranging thinker and supple theorist, Red Wedge encourages our readers to seek out his exemplary cultural analysis. We look forward to what comes next from Dr. Flisfeder.
Read moreThe Return of the Crowd
How in the hell does Jeremy Corbyn become such a sensation at Glastonbury? A sixty-eight-year-old politician propped in front of a crowd of young people gathered to take in Run the Jewels does not on the surface sound at all like the raw material of cultural memory. And yet, when he spoke, the crowd chanted his name (to the tune of the White Stripes no less). They cheered and applauded and shouted themselves hoarse.
There is, ultimately, no reason they shouldn’t have. The leader of the Labour Party who led it to its best showing in twenty years did so by saying that this crowd of young people matters.
Read moreThe Bravest Person I Know
Dre Harris is the bravest person I know. Facing the mirrored horrors of Nazis with metal poles and state-employed pigs who must have heard his screams, Dre survives. He tells his story. He tells his story knowing that a vicious beating is only the beginning of their attack and that rotting hearts beat in all in the institutions around him.
Mark is the bravest person I know. He is the first person to step out from the park as we march to defend the public housing complex from the fascists.
Read moreI Know Who Else Was Transgressive: Teen Vogue has better politics than Angela Nagle
In 1970, the famed “New Journalist” Tom Wolfe wrote an article, and later a book, lampooning a dinner party held by the progressive composer Leonard Bernstein for the Black Panther Party. Fresh off of decontextualizing the Merry Pranksters and Bay Area counterculture in Electric Kool Aid Acid Test, Wolfe, a cheeky, fresh-faced conservative, now was on a mission to show the silliness of what was not yet called “identity politics.” Poking fun at the very idea that a member of the BPP would enjoy hors-d’oeuvres; painting one dimensional figures of the Panthers and liberal intelligentsia in one swoop...
Read moreYour Job is to Tell Your Story
In 1968, at the height of the Civil Rights Movement, Martin Luther King was assassinated. In the immediate aftermath, a wave of riots broke across America. Known as the Holy Week Uprising, this was a largely spontaneous outpouring of rage and sorrow. Far from the Movement collapsing, it marched forward with renewed fury and determination. To paraphrase Stokely Carmichael, what the crowds had started saying was “Black Power”, and they were to keep on saying it. In the midst of this ferment, black artists and activists searched for new answers to the questions that cut across the African-American experience.
Read moreFuture Imperfect; or, "It's Easier to Imagine the End of the World..."
Red Wedge is delighted to share an excerpt from Matthew Flisfeder’s book Postmodern Theory and Blade Runner (2017). The book is part of the Bloomsbury series Film Theory in Practice, edited by Todd McGowan. This excerpt comes from the end of the second chapter.
With a sequel coming up later this year, the time to revalue Blade Runner as a profoundly historical film has come. The film was made during a critical transition point within the history of capitalism.
Read moreKnight of the Living Dead
George A. Romero is dead. And much as some of us would like it, the director of the most iconic zombie horror films of late capitalism will not be rising from the grave to walk among us. But the ravenous consumption that we see in his creations – of flesh, of our sanity, of our hope for the future – will continue. Unless it is brought to its knees then late capitalism has all but assured this.
The interview below with author and film studies professor Tony Williams – one of the very first articles to appear at Red Wedge – was conducted by editor Adam Turl and appeared on the site in October, 2012.
Read moreTrump Supermoon: Three Sonnets and an Introduction
I write formal poems because I'm a little weird in the brain, somewhere off the median on the neurodivergence spectrum. A formal poem is a place where I can express or test ideas or feelings or aesthetics without the profound exposure of a public article. Usually what happens when I write a sonnet is a phrase will occur to me that echoes in that meter and I will think about it. Sometimes that phrase is within the first line, and sometimes it is buried deep within the poem. Each of my poems has started with such a seed, uttered by a friend or within my own thoughts.
Somehow in poems or in any sort of art some parts of society find it acceptable to express feelings or beliefs that one cannot express elsewhere. And that is what I do in my poems.
Read moreRed Wedge Goes Quarterly with "Return of the Crowd"
Red Wedge is now taking orders for our third issue "Return of the Crowd." Get a copy on wedge shop or subscribe. We are also strongly encouraging all supporters to become part of our patron program through Patreon.
As the above video details, we are hoping for issue three to be a big step forward for a publication that deserves to play a role in building the kind of imaginative and militant left we so sorely need. As with any radical project, it doesn't happen without support. Lend us some and we will do our best to return the favor in the form of a fantastic magazine and website.
Read moreThe Joker and the Thief
The intelligentsia has been re-traumatized by that dastardly Dylan. First, they had to put up with the very fact that a “rock singer” (or however we label him) is winning a prize that is supposed to be for literature. As Bill Crane put it last fall, “The middlebrow literary establishment in this country, as may have been predicted, has completely failed to understand the significance any of this.”
Crane makes an exquisite formal and substantive argument in defense of Bob Dylan as a poet, though takes a position typical of the Left regarding Dylan’s “turns” after his classic activist period.
Read moreMusic and Power: In Conversation With Dave Randall
Musician and socialist Dave Randall’s Sound System: The Political Power of Music was released to positive reviews in May. Randall, a veteran musician who has worked with Faithless, Sinead O’Connor and Emiliana Torrini among others, examines in the book music’s many uses and abuses from the perspective of both a practitioner and a serious Marxist. Here, Red Wedge republishes an interview conducted with Randall by rs21’s Colin Revolting on the book, its inspiration, some of its highlights, and how a radical movement can subtly but actively approach popular music.
Read moreDumpster Pizza Party Podcast #2
My guests today are two of the editors of Red Wedge Magazine, Alex Billet and Adam Turl. Listen as we discuss the upcoming changes to Red Wedge Magazine as well as art, politics, Marxism, and the popular avant-garde. This show was recorded while getting a delicious brunch at Milque Toast Bar in St. Louis, MO. I’ll never be able to afford a house now after the delectable avocado toast I ate during the recording of this podcast
Read moreTell Ya
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
Read moreRed Wedge (Print) is Going Quarterly
There are big changes coming to Red Wedge’s publication and posting schedule. Starting with issue three (out in July) on “The Return of the Crowd," Red Wedge will be going quarterly.
Since the founding of Red Wedge in 2012 there has been a mushrooming and further development of left-wing and explicitly socialist publishing. As readers may know, we have spent much of the past eighteen months discussing our way forward, and feel that our current moment, our current environment, demands that Red Wedge professionalize itself.
Read moreGet Out From Where?
Masterful cinema usually leaves little to accident. With the film world completely oversaturated by works that are intellectually lazy and yet somehow overwrought with production costs, this is easy to forget. Many would say that the age of the auteur is behind us. It’s overly glib, but also understandable.
Throw in a film that cuts against this, where everything is well-placed and intentionally so, and a film-going public hungry for something that hits the sweet-spot between smart and emotionally satisfying will not be able to stop talking about it. Enter, like an unexpected guest who has been hiding in your basement, Get Out.
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