Left-wing politics
Left-wing politics are political positions or activities that accept or support social equality, often in opposition to social hierarchy and social inequality. They typically involve concern for those in society whom they perceive as disadvantaged relative to others and a belief that there are unjustified inequalities that need to be reduced or abolished.
The political terms Left and Right were coined during the French Revolution (1789–1799), referring to the seating arrangement in the Estates General: those who sat on the left generally opposed the monarchy and supported the revolution, including the creation of a republic and secularization, while those on the right were supportive of the traditional institutions of the Old Regime. Use of the term "Left" became more prominent after the restoration of the French monarchy in 1815 when it was applied to the "Independents". The word "wing" was appended to Left and Right in the late 19th century, usually with disparaging intent, and "left-wing" was applied to those who were unorthodox in their religious or political views.
Leftism (album)
Leftism is the first studio album by electronica musicians Paul Daley and Neil Barnes under the name Leftfield. The album was released in 1995 on Columbia Records. Leftism consisted mostly of reworked versions of previous singles by Leftfield and new original pieces. The album contains guest spots from musicians not associated with dance music at the time such as John Lydon from Public Image Ltd. (and formerly of Sex Pistols) and Toni Halliday from Curve. The album was described as progressive house, although some journalists found that label too limiting, suggesting the album incorporated many genres. After completing the album, the duo in Leftfield initially were not happy with it.
On its release, the album was well received from the British press with positive reviews from the NME and Q. The album was nominated for the Mercury Prize in 1995 but lost to Portishead. Leftism sold well and was released months later in the United States. Critics have praised the album as one of the major album-length works of dance music, with Q referring to it as "the first truly complete album experience to be created by house musicians and the first quintessentially British one".
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