The consumerists have no future

One of a million bands emboldened by the laissez-faire possibilities of the internet and studio time, made possible by cheap home studio equipment, no-hopers ‘the consumerists’ are something of a contradiction.

With a name like “the consumerists” and lyrics such as “never fight, your world is wonderful, as long as you always give in,” from the ironic “Give In,” “middle-finger, closed doors” from “Waste Away”, or “endless lies, bitter truths, you are the product” from “The Product,” the band is trying to reach and inform a generation brought up on X-Factor, Facebook and shopping-mall consumerism. Read more of this post

Stjernestøv og guitarpedaler i Mørkhøj

muzzbombHvad har kultstjerner som Nick Cave, PJ Harvey, Jeff Scroeder fra Smashing Pumpkins og Alexander Hacke fra Einstürzende Neubauten til fælles? At de alle er kunder i Anders Marcuslund-Reuss’ guitarpedalbutik, Reuss Musical Instruments, i Mørkhøj.

I sommer, udviklede Anders Marcuslund-Reuss en pedal i samarbejde med Nick Caves højre hånd, Warren Ellis, til Nick Caves nye anmelderroste album, Skeleton Tree, der toppede de danske albumhitlister i september. Read more of this post

Ved de at det er jul, i Afrika?

Vi danskere ved at julen er på trapperne når julepynten er hængt op på gader og stræder, når alle taler om at vi skal være gode mod hinanden, og når julesangene begynder at blive spillet sådan nærmest på repeat i radioen.

I dag, den 28. november, er det præcis 30 år siden en af de mest spillede og mest solgte julesange nogensinde, ”Do They Know It’s Christmas?” blev udgivet.

Sangen blev skrevet af popsangerne Bob Geldof og Midge Ure og indsunget af det såkaldte superband, Band Aid, med kendisser som Sting, George Michael og Bono. Året efter fulgte rock-koncert-eventet Live Aid, hvor et væld af popstjerner optrådte for fulde stadions over hele verden, og over 1,5 milliarder mennesker så med på TV. Read more of this post

50 år med Bowie

Den 5. juni 1964 debuterede en ung syttenårig knægt fra Bromley i London, David Robert Jones, med sangen ”Liza Jane”. Sangen floppede, ligesom alle David Robert Jones’ plader de næste 5 år gjorde det.

Det var først da han skiftede navn til David Bowie, efter flere skift i tøj og musikstil, og efter han i desperation over den manglende succes nær havde opgivet sin musikkarriere for at blive skuespiller, at han endelig ramte en musikalsk formel der solgte i 1969. Det var med sangen “Space Odity” om Major Tom, en ensom astronaut fanget i rummet. Read more of this post

Hjælper vores ”hånd til Afrika”?

Vi har set det alle sammen, ofte uden at stille spørgsmålstegn ved årsagerne til det. Billeder af sultende, krigsramte, og passive afrikanere der ikke ville kunne klare sig uden hjælp fra vestlige velgørenhedsorganisationer.  Vi ser det i medierne, og vi ser det i kampagner lavet af udviklings-NGO’er.

”Det bliver bedre dag for dag, hvis vi gi’r en hånd til Afrika”, sang Nanna for eksempel i forbindelse med en kampagne til støtte for sultramte i Etiopien i 1985, selvom hun senere indrømmede, at hun hellere ville have sunget ” I fuckhoveder. I har taget Afrika i røven i så mange år, og det er vores ansvar, at Afrika ser ud, som det gør”. Read more of this post

Punk: the power of music

When second wave punk-band, the Exploited, one of punk rock’s most loud and ferocious bands, sang “punk’s not dead” on Top of the Pops in the early eighties, punk indeed seemed dead and gone – both musically and as an ideal.

Many of the original punk bands had either split, evolved or had become commercialized. And some of the ones that hadn’t seemed rather stale and dishonest in their insistence on retaining a ‘hollier than thou,’ DIY, inverted snobbism, self-conscious pose.

The youth fashion and music of the New Romantic wave of pop music, excessive glamour and make-up, escapism and self-indulgence was slowly but surely taking over from punk – although youth culture and sub-cultures, like all culture, is obviously porous and interdependent.

But that punk should be dead is only true if punk is seen in a generalised and superficial way. Read more of this post

African communalism

Before Africa was colonised, the continent was characterised by a large degree of pluralism and flexibility. The continent consisted not of closed reproducing entities, equipped with unique unchanging cultures, but of more fluid units that would readily incorporate outsiders (even whites) into the community as long as they accepted its customs, and where the sense of obligation and solidarity went beyond that of the nuclear family. An example of such inclusiveness were the South African Xhosa who limited Xhosadom not along ethnic or geographical lines but along political. All persons or groups who accepted the rule of the paramount chief became Xhosa. Pre-colonial African societies were of a highly varied nature. They could be either stateless, state run or kingdoms, but most were founded on the principles of communalism in that they were self-governing, autonomous entities, and in that all members took part, directly or indirectly, in the daily running of the tribe. Read more of this post