Wednesday, March 15, 2017

Mark Solotroff, of Fortieth Day, Tries to Escape His Racist Past

Mark Solotroff, a musician in the electronic/noise genre and operator of Bloodlust! records, was
AWB Record label
recently called out in Chicago for his "art project" AWB recordings and the pseudonym under which he released what was described as “white power racist noise”. As stated before, we are anti-fascist and not art critics. Crypto fascist "artists" have been attempting to make inroads in various music scenes for quite some time and their impact has only been increasing as of late. Despite these recordings taking place in the late 1980's/early 90's, they continue to have impact based on the new found popularity of their provocations. White supremacist america has answered these provocations boldly. Fascism? YES!
 
      By aiming to be provacative, Mark Solotroff succeeded in provoking a response by fascists and anti-fascists alike. One of admiration and respect and the latter of disgust and anger. When conceiving art projects on horrid subjects we would hope the aim is to stare into the abyss, then recoil in disgust. That is not the case with AWB/Terre Blanche. The extremist imagery and content of these recordings caught the eye of Antifa and fascists alike. Whether it's nazi skinheads Sieg Heiling on album covers, song titles like "Sickle Cell", an obvious reference to a disease that largely affects people of African origin, or "They Kill Their Own, And Blame Us", a reference to the Atlanta Child Murders, a series of murders between 1979-81 in which the victims were Black, and attributed to a man who was never tried and convicted in many of the cases. Its also been asserted by many that the actual perpetrators of the murders were members of the local KKK but it was covered up. It becomes immediately apparent Mark Solotroff’s work in this time period took a very specific course, to target Black america specifically.
"New Slavery" Depicts death of Harold Washington and slave imagery


Despite being of limited copies the music and myth of AWB/Terre Blanche spread. In 1989, In response to a notification he’d received from Electronic Cottage, a popular publication of the genre, that there were protestors upset with their advertisement of AWB/Terre Blanche, Mark escalated by deliberately taking out a full page ad in the next issue, boldly claiming that “AWB rcording artists are racists...” to provoke anti-fascists even further. Also in 1989, Mark gave an interview with a magazine called Chemical Castration, in which Terre Blanche is described as being unique in the electronic music genre because of the raw expression of racial hatred pervading their music. In this interview Mark attempts to separate himself from groups like the KKK by saying where they attempt to victimize others, he is the one who has been victimized. He repeatedly claims that white people are an oppressed class and that this music is their way of taking a stand against this. All of this he did under his pseudonym, before it became widely known in the early 90s who had been behind AWB/Terre Blanche. An article was published in 1991 by Ben Gilbert, an editor for Chemical Castration magazine, detailing a series of correspondences and events that led folks like himself and PBK to discover that Solotroff was behind the project.

 
 In 1991, musicians in the industry from the U.S. to Europe, like Philip B Klingler and Frans de Waard, concerned about the normalization of these hateful themes in their network, worked with other artists on an anti racist compilation called "Anti-White Bastards" in response to Mark Solotroff's label. Artists from all over contributed to this effort likening people like Solotroff to known white supremacists in the industry like Death in June or Boyd Rice.
 
 Following is an excerpt from an interview with Philip B Klingler with Personal Best: Issue #6 on 1/2016 Norway:

      "I certainly don't object to extreme content as a narrative within noise music, so I'm not trying to say that controversial subject matter shouldn't be addressed, it really should be. But anything done stupidly, immorally, or only for shock value, has a lot less value when the shock has worn off, and the shock aspect wears off pretty damned fast. If your defense is that you were only trying to shock people and make them think, well in my opinion you should've provided a better point of view of what your angle was, otherwise it's too obtuse. There are better, more intelligent ways to do that, ways that don't leave it open for interpretation as to what the artist's point of view is in relation to the content. On the other hand, if you align your work closely to these backwards ideologies, then in the long run you've ruined your legacy, especially if you don't believe in what you are saying, but are just trying to make a controversial statement, to shock the audience. It's fakery. But there isalways going to be a subculture in the fan base that enjoys this extremist content. So.. for those of us who have been honestly trying to use the medium as a means of evolving the language of music, those groups, those labels, made it harder for us over the years to be taken seriously in a genre where racist or licentious ideas were the norm."

The following is a quote from one of our correspondences with popular noise artist, PBK,  active since the mid-80's, who has released over a hundred albums and collaborated with such well known experimentalists as Jarboe (of Swans), Jim O'Rourke, Wolf Eyes and many others. He has been very outspoken about racist/fascist/nazi and hateful imagery in music:


       “In noise music the artist is creating an abstract expression which, if listened to on it's own, without a title guiding it's narrative, it is probable that every person would come up with a different set of correlations. Once the artist titles the piece they set the metaphor in a direction for the listener. When they create a work that has a racist title and then say 'well, i was simply being a provocateur', that's too easy, they are escaping responsibility. I have made a number of protest works in noise: 'Domineer', 'Asesino', 'Warfare State', 'Politics Of Aggression' and others. None of these works requires a defense or explanation from me as to my point of view yet they are all provocative. Truth in art is essential, hoaxes are a con man's game. It's a misconception that art needs to be elusive, ambiguous, not easily interpreted. I think the work can be challenging, disturbing, it can explore many sociocultural aspects, it can be mind-blowing, inspirational, or give a pure feeling of dread. So many things can be encapsulated in abstract art ----- and still stay on the right side of history.”

When confronted by a group of antifa recently, Mark attempted to use the limited nature of the
recordings as an excuse that many hadn't heard or would even know of them. Our goal in confronting Mark was to hold him accountable for this past and encourage him to denounce the reality of these provocations by denouncing AWB/terre blanche and Fascism as a legitimate political ideology. From our conversation at the Hideout in Chicago, Mark agreed to put out a statement doing just that. He eventually did release a very wordy statement full of excuses and deflections, seeming to completely miss the point.

   In reading the expected statement from Mark regarding the racist roots in his music career, its become amply clear that he does not and will not take ownership of his misguided and hateful views at the time. He continues to dismiss his work as a joke or silly art project. He continues to allude to his own Jewish heritage and the people of Latinx descent in his life, as well as his apparently queer identifying friends, in an effort to insulate him from the white supremacist ideologies he glorified through his “art”. Not once in his statement does he address the community that he continuously attacked and incited violence against, the Black community. The very record label itself is an homage to a neo-nazi separatist group in apartheid South Africa.


               Particularly offensive is his assertion that as an artist he reserves the right to explore the topics that pique his interest. Mark, you didn’t explore them, you glorified and capitalized on the violence, hatred and oppression of the Black community. For that, the community reserves the right to retaliate against the oppressive forces and imagery that you elevated and contributed to. This is not suppression of your artistic expression or free speech, it is literally self defense. Mark Solotroff was given the opportunity here to atone for his past and ask the communities he openly attacked for forgiveness because that is what restorative justice looks like. However, he has proven that he is just another crypto-fascist hiding behind the guise of art and free speech.

               Antifa does not use the state to prevent anyone’s free speech. We reject the concept of constitutional free speech, as the constitution was never meant to protect human rights. It is a human right to exist in a society free of fear that people will attack you for your physical or social differences. That being said, the constitutional right to free speech supposedly restricts the state from censoring ideas, but that same constitutional right as well as basic human rights do not stop the public from opposing hateful ideas in defense of life. The fact that people dislike what bigots have to say and want to make that known is not prohibited by the concept of free speech. If bigots actively go out of their way to tell people that 90% of the world’s population should be enslaved or that the best thing they can do is kill someone because of their skin color, religion, ethnic background, immigration status, sexual orientation, disability, etc., they can’t use “free speech” to silence opposition. Anti-racists and antifascists have an obligation to deny a platform to bigots so that they can’t spread their message and recruit. Concert venues, meeting halls, radio programs, and the like make choices about who to host on a regular basis. These choices have a very real impact on bigoted ideas taking root in one’s community. Responding to bigoted speech is important. We believe in being proactive when it comes to fascist violence, which means confronting fascist views in music scenes before they have a chance to put their ideas into action, and taking fascist threats seriously.



Mark Solotroff
Most current addresses:
3528 W Fulton Blvd. Chicago, IL 60624
165 N Canal St. APT 1131 Chicago, IL 60606


Solotroff has an upcoming show at Cafe Mustache in Chicago on March 18th with other shows following at Subterranean on April 2nd and The Empty Bottle on May 8th, both also in Chicago. Feel free to stop by and give your opinions on his shady past.

29 comments:

  1. He's a liberal and he's nice as fuck to EVERYONE. He, notably, PERSONALLY VOTED FOR the "Chicago leader" whose death Terre Blanche celebrated in music. Sometimes when we're dumb kids we do obnoxious awful things to piss people off. I know trying to talk sense into people grasping desperately for fulfillment by pointing the finger at others is a waste of time, but the Mark I've known for the last 10 years, youthful punk shit aside, is at LEAST in the top 20% of quality, patient, loving human beings. Please shoot for aiming your intelligence reports at at least some drugged-out asshole with a penchant for brawling, not someone who improves the lives of those around him.

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  2. Mark is a friend. I've known him for twenty years and I've never once heard him say anything racist or fascist in the least. I was at The Hideout show and the members of Southside Anti-Fascist Action behaved like brownshirts in Germany. They were not there to debate or discuss they wanted a fight. Mark calmly talked to them and they left. I'm glad The Hideout and the other musicians on the bill stood by Mark's side. One final comment on this, although I've never seen ANY evidence of Mark Solotroff being a fascist, even in his days of playing with taboo and transgressive imagery, If someone is trying to "escape their Nazi past" we should support them in doing that. Mark was never a Nazi but if he was and changed his views that should be commended not condemned.

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    Replies
    1. no, the antifa acted like bolshevik jews. not "nazis." this is because antifa is a jewish hate group who are paid to commit hate crimes against whites.

      Delete
  3. I can't believe that you all are going on with this attack against Mark after you all acted like fools at the Hideout. Come on! You all attacked him, effectively disrespecting the gig as the first performer took the stage and then you left the Hideout before his group performed——proving utmost disrespect towards everyone there and *no interest in educating yourselves what he is actually doing* or any interest in achieving any understanding of the diverse professionals and communities that are involved in Mark's work. You proved with those decisions that you are only interested in making a scene and learning nothing about what he is actually communicating now with his art. You open your post by saying that you are not art critics, thereby no experts in visual literacy or cultural context, well then hear me out. I am a curator and art historian, with a specialization in modern extreme and experimental music and their visual culture. Last year I commissioned The 40th Day to perform at an exhibition that I organized. What you have done is base your whole initial confrontation and argument and now this post on giving uninformed interpretations of what Mark is doing with his art and then actually encouraging people to use this misinformation that you provide to participate in your violent attack against him. PLEASE STOP!

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    Replies
    1. you're talking to antifa. they're the most violent and aggressive people in the planet. they are "fascists" as per their own caricature of what fascism means.

      real fascism is a good thing. white pride is good. everyone needs to stop trying to fight the truth.

      Delete
  4. Take some responsibility for *your own* contemporary actions and stop perpetuating this sort of un-informed activity. What Mark did when he was younger was in poor taste, of course, but as he made clear in his recent statement, the context that he was working within is not the same that we have today, it was a small conversation that was limited to people who were experienced in reading the types of images that he was making. You are free to ignore that, but by doing so you are presenting the situation much differently than it actually existed, and now *you have to take responsibility for the misinformation you are now spreading*. He doesn't owe you an apology and he doesn't have to renounce his past. Like many artists of his generation who used such shock imagery, his experiments in communication were important for his development. In addition to completely ignoring the particular visual culture Mark was working within, you are attempting to collapse time, by using recent critiques and political situations to support your attack of images created decades ago, and completely ignoring what Mark has accomplished artistically since those early experiments. It is very irresponsible for you to isolate his work and to present the art that he created at that time as if it is contemporaneous!

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  5. Now, today, these sorts of images are potentially more disturbing for you when taken completely out of the context of the subculture it was made for and existed within, than it was then for him in the past when it was made for and existed only within a specific subculture. His recent statements shows that he owns his past, takes responsibility for it, is actually going above the situation by being willing to talking with you all about it, and has grown and advanced to become an artist who is not involved in the artistic methods that he used when he was younger. As Mark's audiences and experiences have expanded he has matured and learned how to use images and sounds in much more creative ways. His early and contemporary work is not the same thing, and it is irresponsible for you to merge them. By completely ignoring the socio-cultural context he was working within, you are all acting in ways that are violent and reactionary... (Don't you perceive the similarities that could be gleaned between what he was doing in a small group with these images when he was younger and what you are doing with these social-media posts now? But, you are not communicating to the small selective audience as he was then, you are encouraging anyone with internet access to demonize a good human...furthermore you have taken it upon yourselves to go beyond the public sphere that Mark works within and where he invites conversations to publish his personal information. How irresponsible of you.) You want change, you want to live in a better world, good, you want to shock people awake and make them alert to their surroundings, that can be effective to make this a better world, IF done responsibly. BUT NOW take your own advice please, and Be careful with how you do it, and how you are encouraging others to join you in a damned witchhunt against one of the most sensitive, generous, and talented artists in Chicago. Why not invest in your visual literacy so that you have a foundation to publish your visual interpretations upon, and then try speaking the truth and encouraging understanding and conversation instead?

    ReplyDelete
    Replies
    1. I, Ms. Ishmael, have been a part of "the subculture it was made for and existed within" i.e. NOISE, and I want to inform you that it was NEVER acceptable to me, nor to most of my colleagues in noise during that time. Many of us fought against pro-racist/nazi/fascist/homophobic/misogynistic imagery in noise in the US and the UK. I think you do not have the means to sum this up if you were not involved the sub-culture at that time, there's not enough information out there, and you certainly can't completely trust one opinion on how this all played out and was perceived. There is still not enough written about the noise genre, it's history, to make blanket statements that these images combined with abstract expressive audio were something we desired or looked forward to in the noise community as fans or artists. AWB Recordings was heinous racism in support of African Nationalist parties that supported Apartheid. The labels graphic use of red/black color scheme, photos, names, titles, everything else- nothing is indicative of AWB Recording being any type of art hoax. Especially when reading the interviews given by Mark Solotroff posing as M. Sanderson, where he decribes "being victimized by the minorities that surround us. In particular Blacks and Hispanics", "being victimized because we are White", or where he advocates a "new Nazism" or says "The purity of our intention is 100% motivated by our day-to-day life, not by heritage, upbringing, or old fashioned ideals". This was in 1989 when Eugene Terre Blanche, whom Solotroff named his own noise project after, was defiantly battling against Apartheid reforms. The list of noise artists who protested against what AWB stood for consists but is not limited to those who contributed to my tape compilation from 1990, "Anti White-Bastards", where we published these liner notes: "This compilation is directed against racist tendencies in the 'network' in general and the activities of AWB/Terre Blanche in particular. Musicians from the USA, Europa and South Africa have joined in a struggle against what we think is a mis-use of the network system of audio information exchange. Available from us is an article from the Chemical Castration magazine which gives insight in the ideas of AWB." There are seventeen international noise artists on that compilation, given what has been portrayed as such a small scene it would seem to me this represents a large amount of outrage against AWB Recordings. So, please don't mischaracterize this. As for all of the evidence that Mr. Solotroff is the nicest guy and wouldn't hurt a flea and is not and has never been racist, I say where is the evidence other than his friends' opinions? That's called anecdotal evidence. AWB Recording label's release roster and interviews given under the pseudonym, M. Sanders, weigh more heavily towards the opposite, especially given that Mr. Solotroff states that he has NEVER been a racist, his activities as founder of AWB Recording are even more misanthropic and likely sociopathic to one extent or another. Please visit the link above "interview with a magazine called Chemical Castration" and give a careful look and ask yourself honestly how such an earnest (backwards) ideological world view could have been seen as an art hoax?

      Delete
  6. You should all be ashamed of yourselves. You publish Mark's photo and address here without addressing what he actually said in his blog statement. At The Hideout one of your group was upset that someone took his picture while he was standing around trying to intimidate Mark. The person who took that picture willingly deleted it. You're all hypocrites, cowards and thugs.

    ReplyDelete
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  8. This is a clear-cut case of doxxing or Cyber Bullying. You should be legally obligated to either recant or delete your post.

    Incidentally, I had absolutely no knowledge of Mr. Solotroff. After reading your posts, I looked his name up. Unlike you, however, I did more than just a cursory check.

    I can also tell, due to the responses, that this site is not vigilantly monitored. If it were, the posts on how to get a great mortgage would've been deleted.

    What you're doing is immensely irresponsible. Not to mention...immoral, and most importantly...illegal.

    It's because of knee-jerk reactions like yours; believing everything you read; wanting a name for yourself as some kind of "crusader" that we currently have an unintelligent, unqualified, egomaniacally dangerous ass as the most powerful man on the planet.

    In short: Fuck You.

    ReplyDelete
  9. Mark Solotroff has written a very eloquent statement explaining the Terre Blanche project, putting it into context and apologizing for any harm it may have caused. It is extremely unfair to judge someone based on a short lived provocation they did 30 years ago. I encourage anyone who stumbles across this blog to read Mark's own comments and compare them to way way Southside AntiRacist Action has misrepresented him here. I was a witness to Mark's attempt to talk calmly and rationally with SSARA at The Hideout and it is clear that they have not engaged with him in good faith. It is depressing that a group who should be an ally against the very real racism and fascism that is on the rise in America today has chosen to direct their energies in such a pointless attack on a good man.

    http://bloodlust.blogspot.com/2017/03/mark-solotroff-statement.html

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  12. This comment has been removed by the author.

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  13. See you all at the Bottle on May 9, I suppose. (It's a free show so you won't even have to sully your edgy rep by engaging in capitalist exchange for admission).

    ReplyDelete
  14. My Expression
    thanks for the blog very interesting
    Mark Solotroff has written a very eloquent statement explaining the Terre Blanche project, putting it into context and apologizing for any harm it may have caused. It is extremely unfair to judge someone based on a short lived provocation they did 30 years ago.
    thanks you
    gclub

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