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The songs that had given voice to many people’s hatred of the war machines and the posthumans had been adapted from songs that had given voice, before the war, to a more sinister hatred. It was not that he and Calder had shared it themselves, not exactly, not in their better moments, not when they were sober and in the daylight. They had adapted to it. They had literally played along to it if it had gone down well with the audience. All those pubs and halls: the English electric folk scene, the Scottish radical left, rabid in their patriotic passion and pro-war zeal. You could pick up an old Phil Ochs number or Billy Bragg cover version and twist it into something that made people want to go out and kill Americans.
— Ken MacLeod, Newton’s Wake