DOCSLIB.ORG

Alone in Blackpool, Waiting for Sleaford Mods Scott King Imagine a Northern Accent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alone in Blackpool, Waiting for Sleaford Mods Scott King Imagine a Northern Accent Alone in Blackpool, waiting for Sleaford Mods Scott King Imagine a northern accent. A man half-shouting over the looped guitar Sports, shoplifting, ram-raiding, three for a fiver, discount supermarket riff from the Sex Pistols version of Jonathan Richman’s Roadrunner: poetry of Sleaford Mods? Chop Chop Chop ... fucking bummers ... She insists I go meet her fam- As I look back now, I can see that certain madness had taken hold. ily for Christmas ... at some crap 21st. in some shit club ... so I went ... Something strange had happened to me - something that I thought it was terrible. Bunch of thick bastards eating cheap party food ... she’s would never happen again - I had become a fan. bouncing around flirting with everybody, jiggling her knobbly knees to Jay-Z and Beyonce. *** Gripped, at least in part, by a need to understand my own behaviour, I I laughed out loud when I first heard it. I was immediately transported begin making notes on the band: “Anyone can be a Sex Pistol”, “Our back to Goole in the late-eighties, back to any working man’s club, greatest weapon against the Mumfordisation of Britain”, “X-Factor back to any stiff-egg-sandwich-birthday-party and a world of orange- gone disastrously and brilliantly fucking wrong”, “Sleaford Mods: the skinned-back-combed-hairspray-lasses. I identified. But as the song Sex Pistols meets X Factor. The X-Pistols”. goes on, deeper into the realms of bad breath junkie drug dealers and their screaming kids, everything becomes darker and more desperate. My need to categorise the group is pathetic, really. Why can’t I just It’s still funny, really funny, but I’m painfully aware of laughing at enjoy them? Obviously, it’s because I am a male fan of rock and pop; I someone else’s sink-estate, piss-hole misery: by the end of the song, I can’t just enjoy any band. I need to label groups, put it them in boxes, no longer identify. In fact, I’m not even that sure I should be laughing. then file them away - and I’m not alone. Previous reviewers have at- tempted to do the same, the general consensus being that Sleaford Mods *** are ‘the bastard children of The Fall’, or ‘extras from a Shane Mead- It wasn’t Chop, Chop, Chop that got me hooked on Sleaford Mods, but ows film’. Inevitably someone describes them as ‘John Cooper Clarke that was the song that swung it for me - the song that sealed my faith on steroids’ (this ‘on steroids’ or ‘on acid’ affix always riles me: ‘like in them: an eight minute mini-drama, an update on the classic BBC Timothy Leary on acid’). More imaginative reviewers will have you sit-com formula where - like so many of Sleaford Mods’ lyrics - the believe that Sleaford Mods are Half Man Half Biscuit ‘meets’ Wu-Tang tragedy and humour both spring from the same source: entrapment. Clan. Interesting, funny, but also untrue. Several notebooks already full of supposition; I’m determined that it’s now my turn at to commit some I play YouTube clips of the band over and over throughout early Sep- Sleaford-theories to print. tember. I am transfixed - as much by the grim world the band describe, by these other lives, as by the gurning, hooligan-looking singer and I pitch my idea to this magazine. It’s never easy. The publisher makes the wobbly legged, junkie-looking computer player. Like Chop Chop me meet him several times, forcing me to explain why he should give a Chop, all of their songs are a window into lives that are much more dozen potentially high revenue advertising pages over to a little known desperate than mine. I mean, sitting hear in leafy Highbury, what would band from Nottingham. I bang my fist on the table in the organic coffee I write my white-rap about? The middle-aged IVF lawyer new mums, shop: “BECAUSE THIS IS ART”, I tell him, and eventually he agrees. latte-jogging their twins around the park - or - New-Media-Matt and I can have as many pages as I like for my feature.” There is a condition his mates, still in training kit, watching football in the local pub over an though” he says, “We want you to speak to the singer - Jason is it? - art- orange juice and a ‘locally sourced’ Sunday Roast? ist to artist. That is the story - and we want to know why you, a grown man, are behaving like a teenage girl. Can you write about that?” *** Nobody asks me to, nor probably even wants me to, but I appoint my- *** self as this band’s unofficial marketing wing. I work tirelessly and for Sleaford Mods love Twitter. Jason, uses it like a public note-pad. Half free. My Twitter campaign begins on 19th. September 2013. “Sleaford thoughts, proto-lyrics and bad feelings all go straight on to Twitter: no Mods are the best band in Britain” - that’s the message. I’m not the first editing, no deleting and no apologies. ‘Am fucked’, ‘Tied up in Nottz’, person to realise this of course, I’m just very vocal about it. Everyday, ‘Fuck off’. Twitter is part of the very idea of Sleaford Mods - it pro- sometimes three or four times a day, I Tweet a variation on this message vides immediate one-to-one communication with an audience - and its and support the sentiment with a YouTube link of the band playing live. through Twitter that I establish a friendship of sorts with the Jason. It’s I am relentless. not difficult - they don’t keep their distance from me or any other fan. There’s an endless two-way communication between band and audi- In the coming weeks, realising the limitations of Twitter - that it is per- ence and this - it seems - is the backbone of Sleaford Mods. The record- sonal but not that personal - I step up my campaign to include e-mails. I ings are the same: maximum truth with minimum beats. It all makes send e-mails to almost everyone I know and repeat the message. ; some sense - in a way - no barrier between the band and the audience. I dwell people even reply. I then expand my e-mail campaign to include people on this fact a lot - I ruminate on it - the pros and the cons. that I don’t know - I apologise for ‘cold-calling’ but explain that it is worth it, and essential that they look at the link below: “Sleaford Mods Late one night, via email, I offer Jason some advice - I suggest that Track 1” I say. “Amazing. The best band in Britain”. he might want stand back a bit: not let everyone in, not be seen to be too accessible - unintentionally, unwittingly, but undeniably - I am, of Looking back now, I can see why I sent out dozens of e-mails to well- course, suggesting that he starts to act a bit more like a rock’n’ roll star. known journalists like Miranda Sawyer (who I don’t know) or Alexis Petridis (who I know a bit). I hoped that they, like me, would be instant- *** ly converted - and - they’re influential, so it made sense. I was hoping In mid-December, Sleaford Mods are playing a short tour of the north. that they’d write about the band, introduce them to a national audi- I make up my mind to go to one of these gigs. The 16th December is ence, give them a leg-up. That said, I have no idea why I sent the same Blackpool. I can’t get the thought out of my head. Sleaford Mods make e-mail to Alain de Botton; or why I should have his email address. Did songs about the minimum wage and crap discos. Blackpool is officially I really believe that this bald-pated, patterned knitwear fanatic boffin - Britain’s second poorest town. I’ll go up to there. I’ll write about the born into almost unimaginable wealth - would really understand the JD long boozy neon nights and even longer dull grey days. It’s perfect. OR GREY SEA MEETS NEON NIGHTS?? I arrive in Blackpool the night before the band are due to play. I’ve Tower and the Winter Gardens (both closed). I’ve wandered up and convinced myself that this is essential: if I travel up on the Saturday down the backstreets photographing the lunatic B&Bs; I’ve photo- night, I’ll have the whole of Sunday to take photographs in daylight. I graphed the dog shit, the spew and the semi-defunct rock shops. Now have a vision of sorts. Blackpool is the working class death disco of the what do I do? Time has almost stood still and every ten minutes seems North. A safety valve invented by Victorian industrialists to pacify the to take two hours. I’ve even contemplated all-day drinking, but was put workforces of Lancashire’s cotton mills. Blackpool is where Norman off by a non-legged man parked outside Wetherspoons. I sit on a bench Tebbit made his infamous ‘get on yer bike and look for work’ speech in high up in the town and flick back through my photographs - they’re all the aftermath of widespread urban rioting in 1981: it’s where the Tories terrible - predictable clichés of Northern misery - they look like Morris- used go to publicly fuck and kick the working classes and where the sey’s holiday snaps.
Load more

Recommended publications
  • The Menstrual Cramps / Kiss Me, Killer
    [email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 279 October Oxford’s Music Magazine 2018 “What was it like getting Kate Bush’s approval? One of the best moments ever!” photo: Oli Williams CANDYCANDY SAYSSAYS Brexit, babies and Kate Bush with Oxford’s revitalised pop wonderkids Also in this issue: Introducing DOLLY MAVIES Wheatsheaf re-opens; Cellar fights on; Rock Barn closes plus All your Oxford music news, previews and reviews, and seven pages of local gigs for October NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk host a free afternoon of music in the Wheatsheaf’s downstairs bar, starting at 3.30pm with sets from Adam & Elvis, Mark Atherton & Friends, Twizz Twangle, Zim Grady BEANIE TAPES and ALL WILL BE WELL are among the labels and Emma Hunter. releasing new tapes for Cassette Store Day this month. Both locally- The enduring monthly gig night, based labels will have special cassette-only releases available at Truck run by The Mighty Redox’s Sue Store on Saturday 13th October as a series of events takes place in record Smith and Phil Freizinger, along stores around the UK to celebrate the resurgence of the format. with Ainan Addison, began in Beanie Tapes release an EP by local teenage singer-songwriter Max October 1991 with the aim of Blansjaar, titled `Spit It Out’, as well as `Continuous Play’, a compilation recreating the spirit of free festivals of Oxford acts featuring 19 artists, including Candy Says; Gaz Coombes; in Oxford venues and has proudly Lucy Leave; Premium Leisure and Dolly Mavies (pictured).
    [Show full text]
  • DISCO! an Interdisciplinary Conference
    DISCO! An Interdisciplinary Conference 21-23 June 2018 Attenborough Centre for the Creative Arts University of Sussex WELCOME TO DISCO! This programme provides a full schedule for the conference. For further information about the presentations and the contributors, please refer to the abstracts section on the conference website: https://discosussex2018.wordpress.com If you would like to use wifi, the venue password is: upliftingly scoff their raven If you would like to tweet our conference, please do! @disco_conf We would love to hear from you about your experience at Disco! There is a comments book at the registration desk and a feedback section on the conference website. Recommendations of local eats and drinks in Brighton can also be found on the website. If you have an emergency and need to speak to a conference organiser, please call Arabella (07747 797 254), Michael (07973 317876) or Mimi (07492 771318) or email [email protected] The conference organisers would like to thank the Drama Public Programme, the School of English, the School of Media, Film and Music, everyone at the Attenborough Centre for the Creative Arts, and especially, Greg Mickelborough, Laura McDermott, Matt Knight, Nicola Jeffs, Melissa Cox, and Jodie Grey, and our colleagues Patrick Reed, Sarah Maddox, Danielle Salvage, Lizzie Thynne, Jason Price, Carol Watts, Wayne Spicer, and Alison O’Gorman. A special thanks to our student stewards: Zoë Bothwell, Tom Chown, Neve Mclennon, and Jemima Harney. Catering: spacewithus A big thank you to everyone who is sharing their work at Disco! Enjoy the conference! The DISCO! Team Mimi Haddon Michael Lawrence Arabella Stanger Thursday 21 June 1.30 – 2.00 Gardner Tower Registration and Refreshments 2.00 – 2.15 ACCA Auditorium Welcome! 2.15 – 3.30 ACCA Auditorium Keynote Presentation Melissa Blanco Borelli (Royal Holloway, University of London) "Put Your Body In It": Disco, Divas, and Dance Studies Stephanie Mills’ disco classic, “Put Your Body In It” invites us to get up, free ourselves and just dance.
    [Show full text]
  • Keith Carlock
    APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
    [Show full text]
  • View the Redux Book Here
    1 Photo: Alex Hurst REDUX This Redux box set is on the 30 Hertz Records label, which I started in 1997. Many of the tracks on this box set originated on 30 Hertz. I did have a label in the early eighties called Lago, on which I released some of my first solo records. These were re-released on 30 Hertz Records in the early noughties. 30 Hertz Records was formed in order to give me a refuge away from the vagaries of corporate record companies. It was one of the wisest things I have ever done. It meant that, within reason, I could commission myself to make whatever sort of record took my fancy. For a prolific artist such as myself, it was a perfect situation. No major record company would have allowed me to have released as many albums as I have. At the time I formed the label, it was still a very rigid business; you released one album every few years and ‘toured it’ in the hope that it became a blockbuster. On the other hand, my attitude was more similar to most painters or other visual artists. I always have one or two records on the go in the same way they always have one or two paintings in progress. My feeling has always been to let the music come, document it by releasing it then let the world catch up in its own time. Hopefully, my new partnership with Cherry Red means that Redux signifies a new beginning as well as documenting the past.
    [Show full text]
  • Stänkernde Chronisten Der Vorstadthölle
    # 2014/16 dschungel https://jungle.world/artikel/2014/16/staenkernde-chronisten-der-vorstadthoelle Das englische Punk-Duo Sleaford Mods auf Tour Stänkernde Chronisten der Vorstadthölle Von Kristof Maria Künssler Das nordenglische Duo Sleaford Mods ist das, was Punk hätte werden können – würde er nicht seit vier Jahrzehnten an seiner ­eigenen Konservativität ersticken. Dass wir uns nicht falsch verstehen: Punk war zweifelsohne wichtig in der Geschichte der Jugendkulturen, und ist es nach wie vor – als Tape im Auto, kecker Modetipp und Zutat für die individuelle Charakterbildung. Und zumindest weißen Mittelstandsjungs kann in ihrer adoleszenten Sinnsuche kaum Besseres passieren, als mit dem Geschepper anderer wenig älterer weißer Mittelstandsjungs in Kontakt zu kommen. Allein, als Sprachrohr der Kritik an gesellschaftlichen Missständen dient Punk – seien wir ehrlich – schon lange nicht mehr. So wie die Popkultur generell seit einer Weile unfähig scheint, relevante Kommentatoren des Status quo hervorzubringen. Entweder äußern sich die Künstler auf banale Weise oder sie wissen schlicht nicht, wovon sie sprechen. Umso begrüßenswerter, wenn sie mal wieder auftaucht, die musikalische outsider art, die in abgehängten, miefigen Vorstädten so etwas wie ein – wenn auch mieses – Lebensgefühl treffend vertont. Sleaford Mods tun so etwas. Angefangen haben sie vor wenigen Jahren im drögen Großraum Nottingham. Mit einer handvoll CD-Rs und Veröffentlichungen auf Kleinstlabels sind sie bisher glücklicherweise nicht von der Musikindustrie vereinnahmt worden und bewegen sich bewusst in den Überresten der britischen und nun erstmals auch kontinentaleuropäischen DIY-Strukturen. Sleaford Mods, benannt nach einem Nachbarkaff, aus dem die beiden Bandmitglieder nicht kommen, und einer britischen Subkultur, der sie längst nicht mehr angehören, fabrizieren nichts Spektakuläres.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Versions Title Artist Versions #1 Crush Garbage SC 1999 Prince PI SC #Selfie Chainsmokers SS 2 Become 1 Spice Girls DK MM SC (Can't Stop) Giving You Up Kylie Minogue SF 2 Hearts Kylie Minogue MR (Don't Take Her) She's All I Tracy Byrd MM 2 Minutes To Midnight Iron Maiden SF Got 2 Stars Camp Rock DI (I Don't Know Why) But I Clarence Frogman Henry MM 2 Step DJ Unk PH Do 2000 Miles Pretenders, The ZO (I'll Never Be) Maria Sandra SF 21 Guns Green Day QH SF Magdalena 21 Questions (Feat. Nate 50 Cent SC (Take Me Home) Country Toots & The Maytals SC Dogg) Roads 21st Century Breakdown Green Day MR SF (This Ain't) No Thinkin' Trace Adkins MM Thing 21st Century Christmas Cliff Richard MR + 1 Martin Solveig SF 21st Century Girl Willow Smith SF '03 Bonnie & Clyde (Feat. Jay-Z SC 22 Lily Allen SF Beyonce) Taylor Swift MR SF ZP 1, 2 Step Ciara BH SC SF SI 23 (Feat. Miley Cyrus, Wiz Mike Will Made-It PH SP Khalifa And Juicy J) 10 Days Late Third Eye Blind SC 24 Hours At A Time Marshall Tucker Band SG 10 Million People Example SF 24 Hours From Tulsa Gene Pitney MM 10 Minutes Until The Utilities UT 24-7 Kevon Edmonds SC Karaoke Starts (5 Min 24K Magic Bruno Mars MR SF Track) 24's Richgirl & Bun B PH 10 Seconds Jazmine Sullivan PH 25 Miles Edwin Starr SC 10,000 Promises Backstreet Boys BS 25 Minutes To Go Johnny Cash SF 100 Percent Cowboy Jason Meadows PH 25 Or 6 To 4 Chicago BS PI SC 100 Years Five For Fighting SC 26 Cents Wilkinsons, The MM SC SF 100% Chance Of Rain Gary Morris SC 26 Miles Four Preps, The SA 100% Pure Love Crystal Waters PI SC 29 Nights Danni Leigh SC 10000 Nights Alphabeat MR SF 29 Palms Robert Plant SC SF 10th Avenue Freeze Out Bruce Springsteen SG 3 Britney Spears CB MR PH 1-2-3 Gloria Estefan BS SC QH SF Len Barry DK 3 AM Matchbox 20 MM SC 1-2-3 Redlight 1910 Fruitgum Co.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE INCORPORATING MULTIPLE HISTORIES: THE POSSIBILITY OF NARRATIVE RUPTURE OF THE ARCHIVE IN V. AND BELOVED A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By LEANN MARIE STEVENS-LARRE Norman, Oklahoma 2010 INCORPORATING MULTIPLE HISTORIES: THE POSSIBILITY OF NARRATIVE RUPTURE OF THE ARCHIVE IN V. AND BELOVED A DISSERTATION APPROVED FOR THE DEPARTMENT OF ENGLISH BY _____________________________________________ Dr. Timothy S. Murphy, Chair _____________________________________________ Dr. W. Henry McDonald _____________________________________________ Dr. Francesca Sawaya _____________________________________________ Dr. Rita Keresztesi _____________________________________________ Dr. Julia Ehrhardt © Copyright by LEANN MARIE STEVENS-LARRE 2010 All Rights Reserved. This work is dedicated to the woman who taught me by her example that it was possible. Thank you, Dr. Stevens, aka, Mom. Acknowledgements I am and will always be genuinely grateful for the direction of my dissertation work by Tim Murphy. He was thorough, rigorous, forthright, always responding to my drafts and questions with lightening speed. Whatever is good here is based on his guidance, and whatever is not is mine alone. I know that I would not have been able to finish this work without him. I also appreciate the patience and assistance I received from my committee members, Henry McDonald, Francesca Sawaya, Rita Keresztesi, and Julia Ehrhardt. I have benefitted greatly from their experience, knowledge and encouragement. Henry deserves special recognition and heartfelt thanks for sticking with me through two degrees. I would also like to thank Dr. Yianna Liatsos for introducing me to ―the archive.‖ I most sincerely thank (and apologize to) Nancy Brooks for the tedious hours she spent copy-editing my draft.
    [Show full text]
  • BEAUTIFUL NOISE Directions in Electronic Music
    BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape.
    [Show full text]
  • Press Release for Easter Rising Published by Houghton Mifflin
    Press Release Easter Rising by Michael Patrick MacDonald • About the Book • About the Author • A Conversation with Michael Patrick MacDonald • Advance Praise for Easter Rising • Praise for All Souls • Easter Rising Play List • 2006 Tour for Michael Patrick MacDonald "MacDonald courageously continues to break Southie's silence in this tale of a journey that is as inspiring as it is haunting." — Publishers Weekly, starred review "MacDonald's gift is that he guides us with vision, insight, humor, and the clear, chiseled word. His is a rare sleight of hand." — Colum McCann, author of This Side of Brightness and Dancer About the Book In his best-selling All Souls: A Family Story from Southie, Michael Patrick MacDonald told the powerful story of a decimated community and family, chronicling the loss of four siblings to the violence, poverty, and gangsterism of Boston's Irish American ghetto. In Easter Rising: An Irish American Coming Up from Under, his long-awaited new memoir, MacDonald tells his own story of escaping from that world, immersing himself in the 1980s punk music scene, and traveling to Ireland twice, roots journeys that inspired him to reclaim his heritage as a source of pride rather than shame. Easter Rising begins with young Michael's first forays outside the soul-crushing walls of Southie's Old Colony housing project. In downtown Boston he discovers the club scene swirling around local bands like Mission of Burma and visiting Brits like the Clash, the Slits, and Johnny Rotten. He eventually winds up in New York's East Village at the height of that neighborhood's annus mirabilis, with bands such as the Bad Brains and the Beastie Boys.
    [Show full text]
  • PRESSEMITTEILUNG 15.06.2016 Sleaford Mods Kommen Am 25
    FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 15.06.2016 Sleaford Mods kommen am 25. November in die Fabrik Nottinghams geliebte Söhne sind zurück – oder die meistgehassten Söhne, je nachdem, welcher politischen Richtung man angehört. Und nahezu jeder politische Richtung ist die falsche, denn wenn man den Ausbrüchen des Rappers Jason Williamson zuhört, muss man feststellen: Hass kann doch eine Lösung sein. Wie der Mann aus den East Midlands mit seinem schweren Dialekt über sein verf****tes Land, die besch*****ne Regierung, die verpi*****te Polizei, die verfl******te Armut, die verd*****te Langeweile und alles andere, was ihm auf dem Herzen liegt, herzieht, das ist schon aller Ehren wert. Sein Partner, der Multiinstrumentalist Andrew Fearn, legt minimalistische Beats und krachende Bassläufe darunter und versetzt das Konglomerat mit einigen Soundeffekten. Mehr braucht es nicht, um eine extrem pessimistische Zustandsbeschreibung von England zu geben. Das hat lange Tradition auf der Insel, denn seit Churchill bis Thatcher und Blair und Cameron lag und liegt doch immer noch vieles oder, wenn man den Sleaford Mods folgt, alles im Argen. Irgendwo zwischen Mod-Kultur und Wu-Tang Clan liegen die Wurzeln dieses Duos, das sich als Punk definiert und behauptet, es interessiere sich im Großen und Ganzen für gar nichts. Im vergangenen Jahr hatten Sleaford Mods nach vielen Jahren mit ihrem Album „Key Markets“ endlich auch den Charterfolg, der ihnen zusteht, denn die enttäuschte Jugend Großbritanniens hat längst erkannt, wer ihre Stimme in Wahrheit vertritt. Schon lange klang Verweigerung nicht mehr so gut wie hier.
    [Show full text]
  • A Great Friggin'swindle? Sex Pistols, School Kids and 1979
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Osborne, Richard ORCID: https://orcid.org/0000-0003-4111-8980 (2015) A great friggin’ swindle? Sex Pistols, school kids and 1979. Popular Music and Society, 38 (4) . pp. 432-449. ISSN 0300-7766 [Article] (doi:10.1080/03007766.2015.1034496) First submitted uncorrected version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/17322/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • TV Theme M a S H Tee Set Ma Belle Amie Mac Davis Mac Davis
    TV Theme M A S H Tee Set Ma Belle Amie Mac Davis Mac Davis - Baby Don't Get Hooked On Me Los Del Rio Macarena Donna summer Macarthur Park Brother Cane Machete [Karaoke] Village People Macho Man Bobby Darin Mack The Knife Hooverphonic Mad About You Matchbox 20 Mad Season Gary Jules Mad World Stereophonics Madame helga Doug Stone Made For Lovin' You Elton John Made In England Elton John Madman Across The Water Muse Madness Jimmy Buffett Magaritaville Rod Stewart Maggie Mae Bob Dylan Maggies Farm B.o.B Magic Cars Magic Selena Gomez Magic Who magic Bus Steppenwolf Magic Carpet Ride Heart Magic Man Celine Dion Magic of Christmas Day Oasis MAGIC PIE TRIUMPH Magic Power Lil' Kim feat. 50 Cent Magic Stick Kiss Magic Touch Walter Egan Magnet and Steel Bob Segar Mainstreet Pirates of Penzance Major Generals Song Incubus Make A Move Kitty Wells Make Believe ('til We Can Make It Come True) Taking Back Sunday Make Damn Sure Busta Rhymes Make It Clap Mariah Carey Make It Happen Jason Mraz Make it Mine Ed sheeran Make It Rain Bread Make It With You Korn Make me Bad A Foot In Cold Water Make Me Do Anything You Want Kellie Pickler Make Me Fall In Love Again Elvis Make Me Know It Chicago make Me Smile Pretty Reckless Make Me Wanna Die Sandy B Make The World Go Around Christina Aquilera Make The World Move Doug Stone Make Up In Love Theroy of Deadman Make up your mind Adele Make You Feel MyLove Alabama Maker Said Take Her, The Maroon 5 Makes Me Wonder Sum 41 Makes No Difference Kitty Wells Makin' Believe Doug and the Slugs Makin It Work Kiss Makin Love Dr
    [Show full text]