Chirp of the moment!: September
There are no soundfiles available. Review. Eff Bennett with his solid dub/tech/ housey cuts popping up everywhere (Treibstoff, Convex/Concav, Poker Flat, Morris. It gives them the opportunity to meet their student colleagues and also meet the chosen as one of Zabalaza Theatre Festival Outstanding Productions in In Mayola was one of the main cast in “Faces Of Betrayal”, a workshopped play, directed by senshido.infoopher John and Caroline Duck. Moreover, their criticism of Zabalaza has never, as far as I know, been made public. .. were stifled precisely because their actors only managed to return to and modify, .. In Bob Black's Playing Ducks and Drakes, for example, one of their own . Otherwise, one risks meeting life face-to-face and truly having to grapple with.
In fact they formed the group together and he wrote songs for and played with the group. On 15 May Mthalane died in Durban at the age of Like Stevie Ray Vaughan he has left many of his fans with sounds of a blazing guitar in their heads. The success of Chess was shortlived and the untimely death of Thelma Segona robbed local music of a real gem. Lionel P etersen was born and bred in Alexandra Township.
He used to front a very dynamic band called Thunderballs. Later he moved to Cape Town where he had a stint with The Rockets. He also worked with The Invaders. When he returned to Johannesburg he joined Harari to take the place of the lead vocalist Masike Mohapi.
From Harari he moved back into his solo career. By Lionel had become a born-again Christian and decided to use his talents to glorify the Lord. Soyaphi Louis M hlangawho hailed from Zimbabwe left the band to follow his dreams. His other love is theatre and music scores for films. This hot-as-hell guitarist who has worked with various big names in the UK, Zimbabwe and West Africa is also a composer and arranger.
Live At The Bassline. The late Sipho Gumede was also a founding member. Their other albums include Indibano. In he released a mini album titled Love Fever on the Black Music label. He has already joined the bigger Orchestra Up Yonder. He also played bass guitar for the G-Kays, which was a backing group for the stage play Hard Road.
After a stint with Harari in he went solo in He dedicated the album to his grandmother, Nonzophi Ellen Kente. K haya M ahlangu also had a stint with the band. His career is discussed in the next pages under the story of another powerful group of the s, Sakhile. After a stint with Image the former student of Bopasenatla High School in Diepkloof went solo using the name that was popularised by a hit they recorded together as Image — Chico. This smash hit was co-written by Jimmy Mngwandi and L.
Beyond Memory: Recording the History, Moments and Memories of South African Music
Masitha, and produced by Sidwell Duda under the Transistor label. Most of us will remember Sidwell Duda as manager of the five-man band, Rufaro and trio Elegance. Interestingly, the group Image later changed the spelling of their name to Ymage after their overseas tour as they discovered a group of the same name there.
This could cause confusion on the international market. But one still finds such similarities in record libraries like the group Blondie known for their hit, Heart of Glass and our very own Blondie Makhene. Though the former is a group and the latter an individual, this still creates some confusion in certain quarters. Their albums Time Changes and Human were released under the new spelling — Ymage. In true Dephon style most of his albums were preceded by maxi singles.
Sello is one of those musicians who never turned a blind eye on the oppression of their people. As a prolific prophet he wrote controversial and somewhat ambiguous freedom songs that frustrated the merciless censorship machine of the state. This 10 was achieved through the album We Miss You Manelow at a time when the nation desperately missed its leader, Mandela. Another album, Thina Sizwe Esimnyama, is rich with political undertones.
Millions of people felt that it was a positive and desired prophecy that the majority of South Africans had long been waiting for.
One of his great hits, Give Me Money featured on the charts of almost every radio station across the country. On its sleeve cover he revealed that he was disillusioned with the music scene as the unique sound he had created was being copied, and considered retiring, but after his many fans asked him to reconsider he released the track and promised to continue with music. Other peace tracks are ironically War and Soldier.
Most of his lyrics were spiced with his mother tongue, xiTsonga or tshiVenda as noticed on the same album with tracks Xarila and Bola Bopedza. Chicco is a bold musician with a mission. When the instability reached danger zone and almost triggered a civil war, church leaders and businessmen arranged a meeting of political organisations on Saturday, 14 September to commit to peace.
They signed the historic National Peace Accord. It was against this background that influential musicians joined hands to record an album appealing for calm and sanity. The album broke all known previous record sales by a various artists project in the South African music industry. The crowds just loved him; his bass guitarist, Christopher Jaws Dlathu was just a marvel to watch in action. Shonakhona, an album by Coco was written, arranged and produced by him and engineered by Humphrey Mabote.
Humphrey was one of the very first generation of black engineers in South Africa. Some of his other solo works include the albums MaMatilda and uMagubaniwhich amongst other tracks features one of the most emotional renditions of the freedom song Ibambeni, finally exposing the freedom fighter, giving away the soldier. His music was also used in the tshiVenda television series, Muvhango. The style became hot and hip with a lot of the youth. His interest in soccer put him on the managements of Moroka Swallows and Ria Stars respectively.
Sello scooped many awards both locally and continentally in his music career, but his greatest honour was the SAMA Life Time Achievement Award. His producer for the better part 12 of his career was another young ace-producer, Thapelo Khomo.
Jika Majika featured the hit Kamina Ka Wena while Indaba Kabani featured the title track co-written with his producer. His collaboration with friend Senyaka Kekana known as Hunger Boys has churned out a number of hits including the album Sisebenza Ka Nzima Let me conclude the story of Harari by revisiting the impact of two bands that are the descendants of Harari — Umoja and Ymage Image.
Besides Alec Khaoli himself, another man who played a vital role in these two bands was Don Laka. Today he is a household name in South Africa.
Hype Avenue | Page
Don is a self-made man who moved from one instrument to another, band to band, record company to record company, one book to another on a journey to selfdiscovery. On this journey he was always spurred on by a strong sense of destiny and ambition. The first in a family of five, Don was born in Being son of a preacher, he started singing in church.
His first instrument was the guitar at the age of twelve. He later switched to bass guitar and then piano in after inspiration from an old music book. It was followed by Stages Of Lovean album dedicated to his mother, Naomi, his two brothers Stanley and Abago as well as his two sisters Olga and Selomane. He composed, arranged and produced the music and was also responsible for all instrumentation and lead vocals. In he joined an Indian band, The Flood as a bass guitarist. In when the band Sakhile was formed, he was its first keyboardist.
Laka is a fine musician, composer, producer and arranger. After the release of the CD Destiny, I interviewed him. I found Laka to be a selfconfessed bookworm and very proud of his Laka roots. The music maestro later released the album Supernova, revealing his fascination with astronomy, one of the subjects he stumbled upon as he read every book he could lay his hands on 13 in search of knowledge.
The speech gave the public a full picture of what future relationships between South Africa and the rest of the continent would be, and hopefully nobody was shocked by the establishment of the African Union during his presidency.
I think it could as well be a dedication to the old man who sadly passed away in The album was followed by Armageddon, a battle between good and evil at the end of the world as we know it.
Don Laka has earned the respect of his peers in the industry. The track CD released on the Sony Jazz label also features the hit Thanayi, and Laka also arranged some tracks and played musical instruments as well. His other productions include: Besides producing the CD, Laka wrote two songs and played various instruments. His business acumen was realised in with the establishment of a company he co-owns with young musician Oscar Mdlongwa of Brothers Of Peace, called Kalawa Records, later adding Jazmee to the name when Trompies joined.
He also owns a publishing house, Kabelo Songs, named after his son, as well as 14 recording studios called Lakdon, a combination of his name and surname.
Laka clinched a deal with a Canadian company to release his label, Bokone Music catalogue abroad. The catalogue includes musicians: Pastor Abe Sibiya and Mmakgotso Seoketsa form part of the gospel music pages of the catalogue.
In he invited his friends in music to record his follow-up CD aptly titled Invitation. It is interesting to note that the inspiration behind most of the musicians of the township soul era was a blind band — The All Rounders — led by their frontman, Babsy Mlangeni.
What inspired The All Rounders? Parallels have always been drawn between South African and American music. The Motown success story of Berry Gordy in Detroit gave impetus for new hope among local black musicians.
They felt that Motown could also be achieved in South Africa. The name of the band was derived from the fact that the members could play any musical instrument. The success story of these blind musos who surprised the sighted and made them take a second look at disabled people can best be told by listing their big hits.
After the initial 75 rpm gramophone records like Bantwana Hloniphani and 15 Sphokophoko, they rocked the country with hit after hit: The popularity of the band sent them touring the length and breadth of South Africa and beyond. Later, other band members included Miki Lebona and Peter Segwale, both of whom skipped the country in as the liberation struggle intensified, as well as Moss Tau. By the lineup of The All Rounders had so changed that it would be wrong to call it a band of the blind.
They released an album, Ekaba ke Mang Eo? Their lead vocalist was Thami Sobekwa, one of the most powerful voices in the industry at that time. You may also like to know that one of the band members was Faith Shadi Kekana who would later be a member of female trio, Shadiii. He focused his attention on production and later embarked on a solo career becoming a life-long producer for Babsy Mlangeni. When I met him in the early seventies he was staying in Zone 1, Meadowlands.
After the closure of his company Black Artist Management BAMthis multi-istrumentalist and song-writer launched his record label, Khaya Records, in Another band in the stable was Bayete, a group that was later to be fronted by superstar Jabu Khanyile for many years.
Their self-titled album included the hit, Shosholoza. The late Jabu Khanyile joined the group immediately after the recording of the album. A true father figure to many artists, Sabata also had a hand in the grooming of one of the brightest stars South Africa has ever seen — Brenda Nokuzola Fassie. Mom Sarah played the piano for the group. It was at that time that a Cape Town musician, Al Etto, spotted the small dynamite and tipped Johannesburg producer Koloi Lebona about the jewel.
Koloi arrived at the Fassie home on Christmas Day in He requested that Sarah release Brenda into his polishing hands and she agreed on condition the young girl would continue with her studies. In White City, Soweto, while grooming her for a bright musical career, he fulfilled his promise and registered her at Phefeni Secondary School. Sabata agreed on condition the young girl continued with her studies. One should remember that even at the time, Joy was one of the most happening groups internationally because of their monster hit Paradise Road.
Lebona currently owns a new label, Get Ahead Records. Athanas Jimmy Mojapelo, born sighted on 14 April at Matome village, Zebediela in the then Northern Transvaal now Limpopo province lost his eyesight at a young age. He also went into band management, songwriting and production.Mighty Ducks ★ 1992 Then & Now 
An all-rounder like Sabata, the most known group he started from scratch was The M inerals, a band that featured a young female pianist, Thelma Segona. Their name meant that the music they played was as valuable as precious stones. The leader of the band was Joe Mkhabela. One of their first hit singles was Close Together.
Their debut album, Sweet Sowetofeatured a marathon track of the same name. Ironically, Soweto went sour in June that very same year.
Some of the stars include Supa Frika aka Henry Maitin from Eldorado Park who had cut his teeth in music with a group called Revolution. Maitin became a superstar after a studio concept by Tom Vuma and Selwyn Shandel at CCP Records, but unfortunately his career was cut short by a shooting incident that left him paralysed.
Baberton-born songstress Nelcy Sedibe also joined this band and toured the country as vocalist with Kori Moraba. Peter also released his own work from which flowed a powerful ballad, Pain In My Heart. By the year Peter had shifted his focus to the gospel music genre as he released his eleventh album, Masambeni. He continues to assist and guide new musicians in their endeavour to record their material and spread the Gospel. After a long break he made a come back in a duet called Ali Katt and Biggs with the album Township Boy.
His showbiz as well as life experiences are narrated in his book The Unknown Hero published by Skotaville Books. But most of us will always remember him for his association with singing sensation Kori Moraba and the band Black Five, both having ruled the airwaves in the eighties. Their hits included Batho Ba Tla Reng? When I finally got it, we played it so frequently that I ended up knowing the lyrics by heart. The journey to the rehearsals would coincide with the coming down of a smoke blanket over the township.
That is when thousands of chimneys would compete in exhaling the dark wool into the urban sky. It was at this Rockville house where, for the first time, I saw one of the people who wrote stories in the newspapers — journalist Martin Mahlaba.
I admired him from a distance because I always had this dream of working for mass communication media. At the end of the month it was also my call to ride the train to town where I would pay monthly instalments for musical instruments at Recordia. His marriage was never blessed with a child and as such he somehow treated me like his adopted son.
I was part of the team that read the daily newspaper to him; the team included my brother Thomo Phineas Mojapelo Sisco. It was during this time that I fell in love with poets like Wally Serote, Mbuyiseni Oswald Mtshali and the late Sipho Sepamla and learned to appreciate good lyrics, rhyme and rhythm.
It was here that I learned the importance of the radio to the blind. It reads news, entertains, educates and checks time for them. In fact, in those days my uncle would tell me that without a radio next to him, his world was even darker. When I became a radio announcer my number one listener was a blind listener; I would imagine the students at Siloe School for the Blind sitting around the radio set listening to Max the Mixerboy my name on air.
A fast and fluent reader and typist, Uncle Jimmy skilled many young prospective typists during his spare time; most of them ended up being clerks. He was a very strict and straight talking band manager to a point of perfection. He disliked truancy and excuses. I learned later in my life that this could be infectious. We agreed on many issues except my wish to join the band. He was aware that I loved playing the lead guitar with my whole heart and studied the origin of the instrument whose journey started in Egypt, Spain and the US where the electric guitar market was dominated by the Gibson and Fender manufacturers.
I followed guitarists like 20 Marks Mankwane very close, especially his Marks Special series. The acoustic strings of the Congolese rumba guitars drive me crazy. A year later his wife, Aunt Pinky, passed away on 17 May and Jimmy followed her on 17 August They were all buried among their Bahlalerwa praise name ancestors at the foot of the Matome mountain.
By the way, my association with the All Rounders at an early age taught me a lot about the world of the unsighted. They support one another like a pride of lions. Their passion for good lyrics also attracted them to the music of Robert Zimmerman aka Bob Dylan, as well as bands like Chicago Transit Authority. Babsy was born on 24 February in Orlando East, Soweto. The crowds just loved it!
After that hit he turned into an unstoppable hit machine. His s dance hits included Botsotso, Lonely Man and Umadlemhlabini. Most of his hits were released under the series Babsy Mlangeni: Golden Hits in isiZulu and Sesotho. Babsy has also been involved in developing young talent like Linda Matanzima on Shebeleza The lady ended up marrying his producer, Sabata Lebona.
Some of those projects involved youth choirs, as well as church groups. In Zenzele Music released two compilations of his best Sesotho and isiZulu compositions. The idea of roping in the younger Alexis was to inject some new schoolness into the CD. During their era, musicians were not allowed to record songs in different languages on one single; A and B sides had to use the same language.
The other strange feature was the tendency of record companies to indicate the publishing date in Roman numbers and figures. These and other rigid rules were mostly based on the fact that musicians did not know their rights.
In an attempt was made to unite black musicians under the banner of Black Artist Management. The 22 organisation played its role, but met with a lot of challenges. Eight years later in Koloi Lebona, Jimmy Mojapelo, Sipho Mabuse and Alec Khaoli convened a meeting of more than two hundred musicians at the DOCC hall to exchange ideas on how they could stop the ongoing exploitation of musos.
The historical meeting was chaired by a former radio announcer, Stanley Nkosi who at that time was a director at one of the record companies. The committee was made up of: It did a lot of work, especially during the Cultural Boycott era. Blind musicians on the other hand later also realised that there was a need for an association of their own that could take care of their specific needs.
Yes, let me answer that one. Under the chairmanship of Motsumi Makhene the Music Industry Development Trust MIDI was launched in order to train, assist and guide new producers, promoters, technicians as well as stage and road managers. By the way, Motsumi Makhene is a music teacher, composer, arranger, performer, poet and painter.
It has since been transformed into a community college. The major problematic areas in this industry have always been recording contracts, publishing and concert deals and seemingly there is still a lot of work to be covered. There is light at the end of the tunnel as initiatives like Zakheni Music Trust are conducting workshops to cover musicians even in the outlying rural areas. The intention is merely to highlight the scandalous nature of certain facts which are too often passed over in silence.
This is all to the good. Nobody, from the undergraduate anarchist to the unemployed shack-dweller, will have any chance of breaking the forced passivity of life in capitalist society if they remain content to let others do their thinking for them. Like spectators in the realms of creative and political activity; those who fail to appropriate, develop, and correct ideas by and for themselves will remain forever slaves. Yet at the same time The Incendiary Times collective fails to confront its own unofficial hierarchy!
Moreover, their criticism of Zabalaza has never, as far as I know, been made public. This contributes towards a lack of clarity regarding the conclusions that might be drawn from the organisational and practical differences between these two groups. The necessity for public criticism does not come from a need to prove our own righteousness, but in order to clarify our own position, firstly for ourselves; secondly for those who we criticise so they can clarify their own position: This lack of clarity regarding external relations reflects, and reinforces, their lack of clarity regarding internal relations — and vice versa: How can we subvert how people avoid the obvious if we do the same thing so carelessly ourselves?
The critique of leftist support for Chavez in the pages of this paper could be aptly applied to some of its own perspectives. Anarchist praise for struggles of which they are spectators only serves to mythologize such struggles, which is actively harmful inasmuch as it provides uncritical support for forms of action and organisation that need to be criticised. The cheerleading of first world activists both black and white for the statist independence movements around the world which in were fact highly repressive of those they claimed to liberate - it used to be called 'Third Worldism' - helped to obscure the both repression and popular genuine resistance.
A variation of this uncritical acceptance is the toleration shown by anarchists to almost everyone. It should not be too surprising that such opportunist demagogues should find a home here, since anarchists themselves are known to traffic in their own brand of populist histrionics.
Abstention based on an abstract notion of revolutionary purity only leads to the kind of self-imposed separation that keeps capitalism going. Partly this has to do with a psychological fear of serious confrontation which constrains everyone in this society to maintain an appearance of polite toleration.
The preference for an insipid crowd, for a noxious milieu, for an indifferent couple — for anything rather than being alone, is both the basis and the product of this fear. There is also, however, a more insidious ideological fear of appearing separate from the masses, who are supposedly not ready or able to accept radical perspectives, which limits would-be radicals to the repetition of easily digestible platitudes.
Any future revolutionary movement must begin with an immediate subversion of this theory and practice, keeping in mind that there can be no definitive repudiation as long as the social conditions which reproduce it remain. This is not the anarchist way of going about things. Instead of suppressing conflict through authoritarian practices, anarchists do the same thing through voluntary self-repression — in the name of anti-authoritarianism!
Instead of intervening so as to manipulate movements; anarchists abandon any effective intervention whatsoever. Which is not to say that many anarchist actions are not worthwhile for their own sake, but that they tend to masquerade under radical pretences which are often unjustified and thus suppress the necessity for breaking through the limitations of such action. The fact that for marxists this means membership to a particular political racket and for anarchists this means a more vague conversion to a particular political doctrine accounts for their methodological differences.
As the previous issue of this paper put it: The qualitative difference in these opposing forms of participation is matched by a quantitative difference: If any are moved by this intervention to contact me for further discussion I welcome it, but I make it clear that I offer no alternative product in competition with anarchism.
Those still intent on consumption in the market of ideas will have to look elsewhere. Only when the majority of people begin to struggle in a community of dialogue and action — rather than the false communities of ideological collectivities whose poverty reproduces misery and isolation — can there be any basis for revolutionary collective action. Hosting PR events for the racketeers of political parties, however, will not take us one step closer towards any communal dialogue.
Unfortunately the facts of the matter in this instance, as in too many others, indicate that such fine phrases in The Incendiary Times are not a moment in the development of a subversive practice but more a matter of style over substance. Those who participate in failed revolutionary movements tend not to develop practical conclusions from these failures, let alone use such conclusions in future struggles. Anarchists are no exception. Rather, there is a resigned acceptance of the impoverished possibilities presented by triumphant apartheid, the limitation of aspirations within these miserable bounds, and an endless drift from one delusory hope of changed circumstances to another.
Marxists and anarchists complacently and rightly declare unionism and parliamentary socialism to be bankrupt due to the historical failures of these movements, but how many would be prepared to do the same with their own ideology after a sober evaluation of past and present facts?
How many have ever engaged seriously with the implications of modern revolt, whose most advanced tendencies have been, in theory and practice, anti-ideological that is, an assault on the pretensions of every revolutionary ideology: These are not questions to be dismissed lightly. But that is precisely what anarchists habitually do. Wayne Price demonstrates precisely how, as in every other ideology, adherence to anarchism demands submission to 'ideas of separate power and the separate power of ideas', to a religious ideal which separates itself from the miserable experience of individuals in order to triumph triumph over reality for all eternity, wrapped in a rapturous Pyrrhic victory.
He actually says of socialism, in all seriousness: The actual phrase, by GK Chesterton, is "Christianity has not been tried and found wanting; it has been found difficult and not tried. What failed in the Russian revolution was the policies of certain vanguardists, notably the unwillingness to see the need for a revolutionary perspective, the need to take power.
Not take power in the sense of forming a state, but to take class power, for workers to take over through worker's councils and committees and eradicate the existing state Such are the lofty freedoms offered by a libertarian conception of truth.
Like The Holy Ghost, anarchism exists outside both history and the actual practice of 'certain' ie most anarchists. When transforming history into hagiography, the Doctors of the every church tend to excommunicate all except the tiny minority of true sanctified believers whose 'correct' conduct allows the pristine pedigree of their ideology to remain unsullied by the dirt of everyday life.
The rest simply don't count. Or rather, their actions can be safely discounted as essentially acceptable because led astray by the erroneous 'policy' of 'certain' representatives.
The problem however is that the misled majority never imposed their supposedly radical will on the concrete situation at the critical juncture, forcing the representatives to choose unequivocally which side they were on. Instead, by tolerating the two-faced nature of all intermediaries, they allowed their own position to be determined by their representatives, who always end up placing the represented in the same spot: The existence of a revolutionary essence inherent in the body of anarchism as purported by its adherents is, under these circumstances, entirely moot.
After re-affirming his allegeance to the doctrine of Justification by Faith, the Doctor goes on: But then again there really isn't anything else that has succeeded any better. Having fully integrated itself into the equality of mediocrity, the consolation of losers, the supremacy of poverty guaranteed as a fundamental right by the old world, anarchism claims as its greatest seduction the same peculiar charm of the bourgeois order identified by Winston Churchill: You're talking as if Marxism were something of an intellectual trend.
Love Letters Journal: Why I am not an anarchist
Just look at what happens whenever Marxism actually gets in power. That's what I mean. The ideological critique of Marxism usually advanced by anarchists concerning an abstractly 'authoritarian' socialism produces an ideology of libertarian socialism. By doing so they disable themselves from grasping the anti-ideological critique of all socialism as expressed in the pathetic practice of concrete individuals — a practice whose poverty, delusions of grandeur, banality, self-righteous moralism, implicit and explicit hierarchy, ahistoric individualism, mediocrity, evangelical pity, spectacular tokenism, sub cultural pretension, irascibility on insufficient cause, duplicitous censorship, sentimentality, uninhabitable collectivism, politically-correct submission to prevailing idiocy, and manifest failure to challenge the state 'not with windy unread jargon-filled writings,' as Bob Black put it, 'but with the contagious example of another way to relate to other people', must be manifestly apparent to anyone whose vision is not blurred by ideological blinkers.
I do not claim that anarchists or anarchism is inherently inadequate, as anarchists assert falsely that Marxism is inherently authoritarian there have always been a significant minority of Marxists among the ranks of the libertarian socialists. I only say from my own experience that the handicaps it places on its adherents far outweigh its practical benefits in the business of transforming the life-activity of the species in a revolutionary direction.
Since for me the only question of interest is how we live, such a tool is not merely useless, but altogether counter-productive. The question continues to be posed — in continually more complicated terms.
The liberal philosopher John Stuart Mill, describing those born into the Christian religion, pointed out that the answer distinguishes those with a living relation to the ideas they espouse from those who speak with a corpse in their mouths: They do believe them, as people believe what they have always heard lauded and never discussed. But in the sense of that living belief which regulates conduct, they believe these doctrines just up to the point to which it is usual to act upon them.
The doctrines in their integrity are serviceable to pelt adversaries with; and it is understood that they are to be put forward when possible as the reasons for whatever people do that they think laudable. But anyone who reminded them that the maxims require an infinity of things which they never even think of doing, would gain nothing but to be classed among those very unpopular characters who affect to be better than other people.
Doubtless most anarchists who read this will do the same thing. Yet this dismissive attitude to serious criticism on the part of its believers is precisely what guarantees that, to them, anarchism will remain an inert faith with as little to do with their everyday life as any religion. In this task anarchist theory like those developed by the situationist, marxist, syndicalist, black-consciousness, and other dead movements will have its part to play, but its ideology — as the practice of aparthood by members of a collectivity — will have to be mercilessly attacked.
For their part, anarchists have never bothered to put up any defence. The situationists and the epoch of revolt greeted by them posed the most coherent critique of leftist ideology to date, yet anarchists have rarely engaged with situationist theory beyond the superficial borrowing of a few fashionable phrases, just as they have never engaged with the rebellions of the last 60 years beyond superficial leftist cheerleading.
This should not be surprising. This essay uses the term leftist often enough to merit a brief definition: Anarchism is a variety of leftism: It is evident that leftists have, whether consciously or not, inherited a relation to their own theory derived from that of religion.
In On Liberty, the same work from which the previous quote was extracted, J. Mill summarised this ancient idealism of which his own work was a modern bourgeois variant in terms of its conception of truth: Both express a practise based on the repeated assertion of an abstract truth. In fact, the eruptions celebrated by leftists as 'the return of the repressed in history' were stifled precisely because their actors only managed to return to and modify, rather than escape from and abolish, an horrific history whose products continue to enslave the living.
They have changed the world, but 'everywhere the result was very different from what had been desired. There are no favourable circumstances in which to expect the long-suppressed, long hoped-for dream will be realised. Such people can only usefully relate to theory as to a step, a moment in an ongoing movement towards practical truth: