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How Jazz Survived White Supremacy: Gerald Horne talks to Truthout about “Jazz and Justice”

Certainly, being a ‘jazz’ musician in the first decades of the 20th century was probably the most dangerous profession in the arts and, along with coal mining, one of the most dangerous jobs of all. Inhaling cigarette smoke in dank clubs, being plied with alcohol and other controlled substances by unscrupulous bosses of clubs and record labels alike, being attacked violently by racist ‘fans’ | more…

Ian Angus on the Politics of Ecosocialism, via REBEL

Marx and Engels were deeply concerned about capitalism’s destruction of the natural world, including river and urban pollution, and the degradation of the soil that all life depends on. For them, the word ‘socialism’ included those concerns and the need to overcome them. But in the 20th Century, most socialist organisations treated such matters as secondary… | more…

“Marxists are best placed to write an autobiography”: Helena Sheehan explains why “Navigating the Zeitgeist” is more than a memoir

Why write an autobiography? Who do I think I am? Why should anybody be more interested in my life than anyone else’s life? … I’m not a celebrity. I haven’t starred in Oscar-winning movies getting reviews of mesmerising performances…. ¶ I’ve lived a life that was not headline-making, but not totally obscure either, as an activist, academic and author…” | more…

Gerald Horne talks to Black Perspectives about “Jazz and Justice”

“I grew up in Jim Crow St. Louis with working class parents with roots in Mississippi. From an early age I recall a guitar in our house, that our father would pluck from time to time. Undoubtedly, my younger brother Marvin Horne—who has played with such giants as percussionists, Chico Hamilton and Elvin Jones, and as part of Aretha Franklin’s band just before she expired—was influenced to pick up this instrument because of its ubiquitous presence in our small house….” | more…

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