Bokelskere.no

I’m trying to tell people that really you should be listening to Delroy Wilson, and not Pete Townshend or Paul Weller. [Penny Reel]

The other thing is because of the nature of the managers and because of the nature of what was happening, the Clash is what we would now consider to be a boy band. [Paul Morley]

And the truth was I fucking hated the Clash, and I still hate the Clash. I quite like the first album. And even more than the Clash, I hate blokes who love the Clash. Is that ideological enough for you? [Barney Hoskyns]

[Tony] Parsons had established a “reality test” for music, Springsteen passing, the Clash not. But this only exacerbated rock’s wider authority crisis. Aggressively (unwinnably) jockeying to be more real than itself, with self-conscious pop playacting bracketed off as a sin against social realism, this cockpit for the young, the male, the anxiously energetic, was setting out on its long retreat down from glam towards premature dad-rock.

As it evolved through the 70s and 80s, the music press engineered its imagined community round a clash of different styles; a shared family quarrel, or perhaps a family of shared quarrels among the consumer pointers, with “rock” less one type of music among others than the agreed-on central platform on which all these quarrels took place.

I was supposed to have a Watford board meeting, but I rang them and told them I was unwell. I didn’t wash, I didn’t get dressed. I sat around, wanking, in a dressing gown covered in my own puke. It was sordid. Awful.

I was in bed alone at Woodside one morning, half watching television, when a guy with bright orange hair suddenly appeared on the screen and called Rod Stewart a useless old fucker. I hadn’t really been paying attention, but now I was suddenly riveted: someone slagging Rod off was clearly too good to miss. His name was Johnny Rotten, he was wearing the most amazing clothes and I thought he was hilarious – like a cross between an angry young man and a bitchy old queen, really acidic and witty.

En ny era började och vänsterflum med blommor i håret byttes långsamt ut mot postmodernism och dyra skor.

Kunskapen kring vad Spotify egentligen är och gör verkar det ofta vara lite sisådär med; riksdagsdiskussioner om bolagets totala beroende av externt riskkapital lyser exempelvis med sin frånvaro. Spotify förknippas snarare med världens bästa arbetskraft som trots höga löner har svårt att hitta bostäder, utbyggnad av förskolor, högt skattetryck och stelbent dinosauriepolitik – bolagets lockelse och skönhet finns i betraktarens öga.

I näringspolitiska sammanhang har Spotify alltså blivit ett företagsideal. I sådana kontexter har bolaget på ett ideologisk sätt länkats till båda det ena och det andra. I en riksdagsdebatt våren 2016 kring förutsättningar för snabbväxande företag, argumenterade Miljöpartiet till exempel för att tjänsteföretag som Spotify behöver bra förskolor och ”trygg miljö med ren luft”. Spotify var nämligen helt beroende av sina ”anställdas kreativitet och kompetens. De slåss om den med andra”.

The dead were almost holding hands. The foot of one of them was touching the stomach of another, whose fingers lay on the face of a third, who was leaning toward the hip of the fourth, who seemed to be staring at the ceiling, and all of them, as never before and for evermore, became, in this arrangement, my comrades.

The man who walked toward the back of the room and toward me fired a bullet and said: “Allah Akbar!” He fired another bullet and repeated: “Allah Akbar!”

On January 7, 2015, around 10:30 A.M., few people in France were prepared to say “I am Charlie.” We had entered a new age and couldn’t do anything about it. The paper was no longer important, except for a few loyal readers, for Islamists, and for all kinds of more or less civilized enemies, ranging from boys in the suburbs who didn’t read it to the perpetual friends of the wretched of the earth, who liked to call it racist.

Mens Sara [Azmeh Rasmussen] skrev mye i aviser, og også forfattet flere bøker, har Amals [Aden] viktigste aktivitet vært å holde foredrag og å delta på åpne, offentlige møter rundt om i Norge. Under et slik møte sa en av tilhørerne at hun var en skam for Afrika. Amal repliserte: «Afrika har store problemer, men at jeg er lesbisk er ikke et av dem.»

De som sier at islam er forenlig med humanisme, demokrati og menneskerettigheter - og som fremstiller profeten Muhammed som en fredsaktivist, likestillingsforkjemper og sosialdemokrat - har ennå ikke de sterkeste empiriske argumentene på sin side.

‘David Bowie has talent,’ Truman Capote told Andy Warhol in 1973 – a generous assessment from the man who thought Mick Jagger as ‘sexy as a pissing frog’.

Another GCHQ operation to harvest IP addresses of website visitors was code-named KARMA POLICE, apparently after the Radiohead song of the same name, which includes the lyric, ‘This is what you’ll get when you mess with us.’