Left-wing politics in the 20th century is usually associated with tonal, accessible styles, while dodecaphony is seen to occupy a more elitist, establishment position. Many composers, including Hanns Eisler, Ruth Crawford Seeger, Stefan Wolpe, Wladimir Vogel, and Wallingford Riegger, viewed advanced music as going hand in hand with progressive politics, especially during the 1930s. In discussing some examples, I offer an alternate view to the prevailing historiography, as well as addressing the complexities involved in linking music and politics at all.