When the socialist politician Salvador Allende dramatically won Chile’s presidential election in 1970, a powerful cultural movement accompanied him to power. Folk singers emerged at the forefront, proving that music could help forge the birth of a new society. As the CIA actively funded opposition media against Allende during his campaign, the New Chilean Song Movement rose to prominence, viscerally persuading voters with its music. Víctor Jara, a central protagonist at the time, became an icon in Chile, Latin America, and beyond for his revolutionary lyrics and life. Inti-Illimani, Quilapayún, and other musicians contributed by singing before audiences of workers outside factories or campesinos in Chile’s rural countryside.

A short cultural history, “Venceremos“ charts the development of the movement from the years before Allende’s victorious campaign to the brutal U.S.-backed military coup on September 11, 1973, that overthrew his presidency and imposed the dictatorship of General Augusto Pinochet. Featuring interviews from key figures and lyrical analysis, “Venceremos“ gives insight into how the New Chilean Song Movement’s revolutionary anthems came to be.

From the early folkloric documentation of Violeta Parra in Chile’s countryside to “Venceremos,“ the triumphant anthem of Allende’s Popular Unity Coalition, the music of Chile’s Nueva Canción was shaped by the larger history occurring all around it. Within the songs, all the hopes, dreams and apprehensions of the nation were reflected. At the same time, as its influence grew, the cultural movement claimed its own principal space as catalyst of not only Chile’s musical but its political future as well. So dangerous were its creations that the Pinochet dictatorship censored and attempted to destroy them. Most tragically, Víctor Jara’s life was taken in the bloody repression that immediately followed the coup.

Black metal is a paradox. A noisy underground metal genre brimming with violence and virulence, it has captured the world’s imagination for its harsh yet flamboyant style and infamous history involving arson, blasphemy, and murder. Today black metal is nothing less than a cultural battleground between those who claim it for nationalist and racist ends, and those who say: Nazi black metal fvck off!

Black Metal Rainbows is a radical collection of writers, artists, activists, and visionaries, including Drew Daniel, Kim Kelly, Laina Dawes, Espi Kvlt, Hunter Hunt-Hendrix, Svein Egil Hatlevik, Eugene S. Robinson, Margaret Killjoy, and many more. Across essays and theory-fictions, artworks and comics, we say out loud: Long live black metal’s trve rainbow!

This unique volume envisions black metal as always already open, inclusive, and unlimited: a musical genre whose vital spirit of total antagonism rebels against the forces of political conservatism. Beyond its clichés of grimness, nihilism, reaction, and signature black/white corpse-paint sneer, black metal today is a vibrant and revolutionary paradigm. This book reveals its ludic, carnival worlds animated by spirits of joy and celebration, community and care, queerness and camp, LGBTQI+ identities and antifascist, antiracist, and left-wing politics, not to mention endless aesthetic experimentation and fabulousness. From the crypt to the cloud, Black Metal Rainbows unearths black metal’s sparkling core and illuminates its prismatic spectrum: deep within the black, far beyond grimness, and over a darkly glittering rainbow!

This unique comic by Milton Knight illuminates the early years of C.L.R. James (1901–1989), known in much later years as the “last great Pan-Africanist.” The son of a provincial school administrator in British-governed Trinidad, James disappointed his family by embracing the culture and passions of the colonial underclass, Carnival and cricket. He joined the literary avant-garde of the island before leaving for Britain. In the UK, James swiftly became a beloved cricket journalist, playwright for his close friend Paul Robeson, and a pathbreaking scholar of black history with The Black Jacobins (1938), the first history of the Haitian revolt.

The artistic skills of Milton Knight, at once acute and provocative, bring out James’s unique personality, how it arose, and how he became a world figure.

From the rollicking welcome of “A Festive Song” to the defiant battle cry of “Watchword of Labor,” Songs of Freedom accomplishes the difficult task of making contemporary music out of old revolutionary songs. Far from the archival preservation of embalmed corpses, the inspired performance of a rocking band turns the timeless lyrics of James Connolly into timely manifestos for today’s young rebels. As Connolly himself repeatedly urged, nothing can replace the power of music to raise the fighting spirit of the oppressed.

Giving expression to Connolly’s internationalism, musical influences ranging from traditional Irish airs to American rhythm and blues are combined here in refreshing creativity. As for the songs themselves, nine have lyrics by Connolly, three were written about Connolly, and one, “The Red Flag,” was chosen by Connolly to be in the original Songs of Freedom songbook of 1907, subsequently becoming a classic song of Labor. The instrumentation is acoustic: guitars, uilleann pipes, whistles, fiddle, accordion, and Irish harp, as well as drums and bass.

1. A Festive Song
2. Be Moderate
3. Human Freedom
4. Connolly Was There
5. A Rebel Song
6. Saoirse a Rúin
7. When Labor Calls
8. O Slaves of Toil
9. Shake Out Your Banners
10. The Irish Rebel
11. The Red Flag
12. Watchword of Labor
13. Where Is James Connolly?

Silvia Federici is one of the most important contemporary theorists of capitalism and feminist movements. In this collection of her work spanning over twenty years, she provides a detailed history and critique of the politics of the commons from a feminist perspective. In her clear and combative voice, Federici provides readers with an analysis of some of the key issues and debates in contemporary thinking on this subject.

Drawing on rich historical research, she maps the connections between the previous forms of enclosure that occurred with the birth of capitalism and the destruction of the commons and the “new enclosures” at the heart of the present phase of global capitalist accumulation. Considering the commons from a feminist perspective, this collection centers on women and reproductive work as crucial to both our economic survival and the construction of a world free from the hierarchies and divisions capital has planted in the body of the world proletariat. Federici is clear that the commons should not be understood as happy islands in a sea of exploitative relations but rather autonomous spaces from which to challenge the existing capitalist organization of life and labor.