"According to the pair, the band's moniker comes from a fusion of the toughest mo-fo American president and a word for "struggle." Keen subject matter ranges from cutting a piece off baby Jesus to the stupidity of smoking, all fronted by a furious, lighthearted lead vocal wit that includes lyrics such as "Fuck white people/Kill the white devil" and "I like telling dirty jokes/And I like smoking crystal meth/But darling I love you." Bow down to the gritty and raw audio confusion."
About Andrew Jackson Jihad
"We have a drunkolin player named Dylan Westley Cook now. He has a beard but now it is short. He might shave lightning bolts into it. Swan Song Sean-Claude Danger Vincent Bonnette Danger exclusively plays seagull brand guitar. Benjamin Ora Gallaty does music with a large violin. We have been together for one year and Justin James White doen't play drums with us anymore. Andrew Lane plays trumpet sometimes. Jeff Mayfield aka Piltatope aka ghostface killah played saw once. Jalipaz did clapping and backups on our record. Jalipaz recorded us very hard. He is also the kingpin behind a group of friends called The audioconfusion Manifesto. Oh yeah, Mike Montoya played drums for us several times. and now Owen Richard Evans plays the banjo. He also plays fools like chumps at bonez. "
From Wikipedia, the free encyclopedia
The Art manifesto has been a recurrent feature associated with the avant-garde in Modernism. Art manifestos are mostly extreme in their rhetoric and intended for shock value to achieve a revolutionary effect. They often address wider issues, such as the political system. Typical themes are the need for revolution, freedom (of expression) and the implied or overtly stated superiority of the writers over the status quo. The manifesto gives a means of expressing, publicising and recording ideas for the artist or art group— even if only one or two people write the words, it is mostly still attributed to the group name.
Manifestos were introduced with the Futurists in Italy in 1909, and readily taken up by the Vorticists, Dadaists and the Surrealists after them: the period up to World War II created what are still the best known manifestos. Although they never stopped being issued, other media such as the growth of broadcasting tended to sideline such declarations. Due to the internet there has been a resurgence of the form, and many new manifestos are now appearing to a potential worldwide audience. The Stuckists have made particular use of this to start a worldwide movement of affiliated groups.
Manifestos typically consist of a number of statements, which are numbered or in bullet points and which do not necessarily follow logically from one to the next. Tristan Tzara’s explanation of the manifesto (Feeble Love & Bitter Love, II) captures the spirit of many:
|“||A manifesto is a communication made to the whole world, whose only pretension is to the discovery of an instant cure for political, astronomical, artistic, parliamentary, agronomical and literary syphilis. It may be pleasant, and good-natured, it's always right, it's strong, vigorous and logical. Apropos of logic, I consider myself very likeable.||”|
We are apart of The audioconfusion Manifesto along with:
a feast unknown
andrew jackson jihad
asleep in the sea
the orphan line
check out our sister collective: ZOMBIES AND PIRATES
IntroductionThe manifesto was previously a political document of state. Indeed the declaration of war in 1914 was embodied in a document titled a “manifesto”. This background is extremely informative when assessing the positioning and impact of the manifesto as adopted by the early artistic users of it, who were subverting, even destroying, the form, as part of an overall challenge to art and society.
Although it might be assumed that an art manifesto's primary purpose is to communicate the aesthetics of the group issuing it, this turns out not to be the case, nor is it an art form in its own right. The norm is a hybrid form that combines a theatrical performance with political declamation.  Artists have not restricted themselves to their own genre, although they have often used their skills in the presentation of the text through graphics and type faces, resulting in a combination of "art, publicity, criticism, and advertising".
Martin Puchner stresses the inescapable connection between the art manifesto and the political manifesto, not least because artists also issued overt political statements and allied themselves with political groups. Marinetti tried to gain a political office and both Italian and Russian Futurists issued political manifestos. Lenin was espoused by the Zurich Dadaists, and Rosa Luxemburg by those in Berlin. In England the Suffragettes were supported by Vorticist Wyndham Lewis, and the Communists by Surrealist Andre Breton in France. However, the attentions of the artists were often not welcomed. Marinetti found himself stymied by Italian dictator Benito Mussolini, and Velimir Khlebnikov by Leon Trotsky, while Breton was an outcast from the French Communist party and Guy Debord resorted to starting an independent group. 
Claes Oldenburg, a Pop artist, reacting against Abstract Expressionism, along with other young artists. The Manifesto ‘I am for an Art’ was originally made to be included in the catalogue of the 'Environments, Situations and Spaces’ exhibition. Each of the statements begin with 'I am for an art...'.
Here is a quote from the first two statement in his poetical manifesto,
"I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.
I am for an art that grows up not knowing it is art at all, an art given the chance of having a staring point of zero... "
( Harrison, C. and Wood, P. (2006) Art in Theory, 1900-2000: an Anthology of Changing Ideas. 2 ed. USA: Blackwell Publishing)
Claes Oldenburg info and art at Artsy
Punk and cyber 1976–1998The rise of the punk movement with its basic and aggressive DIY attitude had a significant input into art manifestos, and this is reflected even in the titles. Some of the artists overtly identified with punk through music, publishing or poetry performance. There is also an equivalent "shocking" interpretation of feminism which contradicts the non-objectification advocated in the 1960s. Then the growing presence of the computer age began to assert itself in art proclamations as in society.
Bread and Puppet Theater
The whole title is "the Why Cheap Art? manifesto". It is a single sheet, issued by the Bread and Puppet Theater "in direct response to the business of art and its growing appropriation by the corporate sector." There are seventeen statements, most of them beginning "Art is" and ending with an exclamation mark, set out mostly in upper case, sometimes mixed in with lower case, in different typefaces which get bolder through the leaflet till the final statement of a large HURRAH. It starts:
- People have been thinking too long that art is a privilege of the museums & the rich.
- Art is not business!