The connection between Italian Futurism and fascism is well known. Alan Woods looks at the psychology of the Italian bourgeois and petit bourgeois intellectuals in the period before and during the First World War that gave rise to this singular phenomenon. It is an object lesson on how art and politics can become inextricably linked, and how this mixture arises from a definite social and class basis.

According to director Michael Moore, the film Bowling for Columbine paints a portrait of the United States, “a nation that seems hell-bent on killing first and asking questions later” at the beginning of the 21st century. Appealing to the likes of us, we thought, and this proved to be no false expectation. Apart from a film that grabs the spectator by the scruff of the neck, at times being tragic by the bare facts alone, Bowling for Columbine is above all a very humorous and enjoyable documentary about the American weapons industry, but also about the latter’s link with US foreign policy.

We publish here the transcript of a speech by Alan Woods on the subject of the relationship between Art and the Class Struggle. The speech was given at a Marxist Summer School in Barcelona (Spain), in July 2001.

This article looks at the relevance of Mozart's work within the context of the general radicalisation taking place across Europe in the period prior to the French Revolution.

On December 2000 we published this article on Marxism and Art by Alan Woods on our sister web site, www.trotsky.net.

In this article, the comrades of the Nigerian Marxist journal, Workers' Alternative, examine the revolutionary essence of the music and songs of the late Afro-beat master, Fela Anikulapo-Kuti, who died on August 2, 1997. The article was originally written on the first anniversary of his death. This artist was and still is extremely popular among African workers and youth for the radical and revolutionary content of his lyrics.