Music has the power to energise, to motivate and to inspire revolutions. As Janelle Monae stated, in anticipation of the DC Women’s March at which she performed: “Music has always been a powerful tool for galvanizing unity and I believe that singing and standing together, our voices will be stronger than any force that tries to repress us.” Well, not so secret really - but it’s a weapon that has accompanied progressive social movements in every fight against oppression.
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We have to, for we have a secret weapon: music. Since inauguration day, virtually every frightening Executive Order Trump has signed has been followed by successful court actions and large protests (the Women’s March of 21 January was the largest single-day protest in US history).
#Deep sea tycoon music tv#
On January 20 th 2017, the world bore witness to the inevitable: a narcissistic, ultra-capitalist, reality TV tycoon became President of the most politically (and often coercively) influential country in the world. Mike Saunders, “They Saved Hitler’s Cock”, 1992. They saved Hitler’s cock, and now it wants to talk. Roger Griffin, “The Nature of Fascism”, 1991.
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In an era where fascist movements at once try and lay claim to high classical, street punk, and even 80s-reverent electronica, do they really hold the cultural capital? Duncan Allan reviews a century's brutality and questions whether fascists can ever truly love music, rather than use it as a means to an end.Ĭontent Warning: This article contains descriptions of fascist ideology and actions, including sexual and racial violence.įascism is a political ideology whose mythic core in its various permutations is a palingenetic form of populist ultra-nationalism.