The mark of a revolutionary movement can only be seen in its complete separation from the current establishment. It is completely apart. It is not apart because it can't make the grade in the sick society, but rather because it can't stomach it and refuses to be part of it. It is set apart because it is disciplined, sober and austere, truly moral. It is a revolution because - finding itself faced with an absolute abomination - it has as its highest priority the destruction of the System and therefore is not some piddling conservative sideshow crusade. It can and does reject the prevailing decadence of the sick society, not because of any leftover code of taboos but because to dissipate oneself in such a manner is counter-revolutionary. It utterly scorns such phony "revolutionary" elements as the "hippie" or "drug culture" because it knows them to be only the more virulent forms of the same cancer as the System it self. It has historically been the task of each revolution to destroy that which is unclean. That accomplished, nature and man can once again assume their proper course upward.

A revolutionary poem will not tell you who or when to kill, what and when to burn, or even how to theorize. It reminds you... where and when and how you are living and might live, it is a wick of desire. (XXVIII: "What if")

A protest song is a song that's so specific that you cannot mistake it for bullshit.

Classical poetry is the poetry of revolution

When, comrades, we thrill to the message of speaker in highway or hall,
The voice of the poet is reaching the silenter poet in all:
And again, as of old, when the flames are to leap up the turrets of Wrong,
Shall the torch of the New Revolution be lit from the words of a Song!

A revolutionary movement (and indeed that is what we must have if we are to secure the existence of our People and a future for White children at this late date) is a complex subject. The leaders of such a movement must have a comprehensive overview of social structures and how these structures relate to, guide, serve or destroy a population subjected to them. Just as important a revolutionary leader must understand human nature and what makes a person either loyal to or an enemy of a social contract, either religious or secular.

In the largest sense, every work of art is protest. … A lullaby is a propaganda song and any three-year-old knows it. … A hymn is a controversial song — sing one in the wrong church: you'll find out. …

The cultural invasion is like a leafy tree which prevents us from seeing our own sun, sky and stars. Therefore in order to be able to see the sky above our heads, our task is to cut this tree off at the roots. US imperialism understands very well the magic of communication through music and persists in filling our young people with all sorts of commercial tripe. With professional expertise they have taken certain measures: first, the commercialization of the so-called ‘protest music’; second, the creation of ‘idols’ of protest music who obey the same rules and suffer from the same constraints as the other idols of the consumer music industry – they last a little while and then disappear. Meanwhile they are useful in neutralizing the innate spirit of rebellion of young people. The term ‘protest song’ is no longer valid because it is ambiguous and has been misused. I prefer the term ‘revolutionary song’.

History must change and today we see our problems in a different light, we say that our revolution today here and straightaway has something different, because it is made together with everybody, with our spirit united to everyone, even those not here, it is revolution for everybody and with everybody, not excluding and not destroying for ever, and not eternally damning anyone. It is a choral revolution.

You work on plays on contemporary revolutionary themes, but if your ideology is not revolutionized you cannot be at one with the workers, peasants and soldiers, you cannot establish flesh-and -blood relations with them. If your head is full of the ideology of the feudal landlord class or bourgeoisie, how can you identify yourselves with the proletariat and the working masses? Under such circumstances how can you establish flesh-and-blood ties with them? So, if you want to perform a play on a contemporary revolutionary theme you need, in the first place, to have a revolutionized ideology. You should be determined to remould yourself and raise your political level. Once you are determined to be revolutionary, things will go well. Change a little bit today and a little bit tomorrow, and you’ll build up a revolutionary ideology bit by bit.

Poetry has been an instrument of change and revolution since it existed. It is protest and defiance and celebration and a love anthem. It is how we communicate so of course it is also how we enact change.

I loved these songs and could still hear them in my head long after and into the next day. They weren't protest songs, though, they were rebel ballads... even in a simple, melodic wooing ballad there'd be rebellion waiting around the corner. You couldn't escape it. There were songs like that in my repertoire, too, where something lovely was suddenly upturned, but in stead of rebellion showing up it would be death itself, the Grim Reaper. Rebellion spoke to me louder. The rebel was alive and well, romantic and honorable. The Grim Reaper wasn't like that.

A future revolutionary movement worthy of its name will grasp the ancient conceptual roots of hierarchy and domination, such as emerged in the practices of early agricultural societies. It will incorporate a new ethics (ecology and animal liberation) and politics of nature that overcomes instrumentalism and hierarchical thinking and institutions in every pernicious form possible. It will grasp the incompatibility of capitalism with the most profound values and goals of humanity. It will build on the achievements of democratic, socialist, and anarchist traditions. It will incorporate , feminist, LGBT, and indigenous struggles. It will repudiate ideologies and unequivocally reject alliances or association with the . It will merge human, animal, and earth liberation in a total liberation struggle against global capitalism and domination in of all kinds.

There can be no music without ideology. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters.