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Swansea Indepenent Poster Of The Year 2021. Dr P / Mart66 / Roathie / Parlay / E20/ Duffle was 2nd, but he is deluded and thinks in his little twisted brain that he won. Poor sod. We let him win this year, as he has cried for a whole year. His 14 usernames, bless his cotton socks.
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That dopey Thunder song on 06:46 - Feb 16 with 2928 views
That dopey Thunder song on 05:17 - Feb 16 by builthjack
The music should stop 5 minutes before KO.
I don't think that video helps before it either, it just makes you reminisce the good days and dread what's coming up 10 minutes later. Totally kills the atmosphere, should be putting on some loud techno/trance beats or something to get crowd going.
[Post edited 16 Feb 2023 6:47]
Even when you know, you never know?
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That dopey Thunder song on 09:22 - Feb 16 with 2847 views
That dopey Thunder song on 06:46 - Feb 16 by jojaca
I don't think that video helps before it either, it just makes you reminisce the good days and dread what's coming up 10 minutes later. Totally kills the atmosphere, should be putting on some loud techno/trance beats or something to get crowd going.
[Post edited 16 Feb 2023 6:47]
I agree regarding the video ,I went up to my seat with more than a tear in my eye and the accompanying music from American Beauty , as much as I do enjoy it in he right place it does kills any positive mood
"In a free society, the State is the servant of the people—not the master."
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That dopey Thunder song on 12:49 - Feb 16 with 2790 views
Thunder has nothing to do with Swansea City, just because someone in the office is a big AC/DC fan doesn't mean we have to play it
White Riot has connotations because we play in white and we're hoping, metaphorically, we are going to have a riot, on the pitch (not in the stands), plus it has been played at the Vetch/Liberty for the best part of 30 years, its an adopted anthem like the Liquidator at Chelsea, Z Cars at Everton or even You'll never walk alone at Liverpool
Powers that be believe it has racial connotations when nothing could be further from the truth
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That dopey Thunder song on 13:12 - Feb 16 with 2779 views
That dopey Thunder song on 06:46 - Feb 16 by jojaca
I don't think that video helps before it either, it just makes you reminisce the good days and dread what's coming up 10 minutes later. Totally kills the atmosphere, should be putting on some loud techno/trance beats or something to get crowd going.
[Post edited 16 Feb 2023 6:47]
Techno trance beats? It’s a football stadium not a gay nightclub.
That dopey Thunder song on 12:49 - Feb 16 by whiterock
Thunder has nothing to do with Swansea City, just because someone in the office is a big AC/DC fan doesn't mean we have to play it
White Riot has connotations because we play in white and we're hoping, metaphorically, we are going to have a riot, on the pitch (not in the stands), plus it has been played at the Vetch/Liberty for the best part of 30 years, its an adopted anthem like the Liquidator at Chelsea, Z Cars at Everton or even You'll never walk alone at Liverpool
Powers that be believe it has racial connotations when nothing could be further from the truth
Racial connotations? maybe we shouldn't be playing in a mostly whte kit wit small amounts of black then, it obviously suggests black isn't good enough!
People are stupid.
NB, I hope people do not miss the intended sarcasm in mypost but just in case...
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That dopey Thunder song on 22:26 - Feb 16 with 2565 views
That dopey Thunder song on 22:26 - Feb 16 by majorraglan
I’d go Badfinger “Come and Get it” as it’s got strong local connections.
Better hurry cos it may not last!
For some local flavour ..
C'mon Man
Come on boy(s) do something Just a little bit would help It's better than doing nothing Instead of sitting round thinking of yourself Get up, c'mon Get up, c'mon Get up, c'mon Get up, c'mon
It’s an easy mistake to make, especially looking back. When you take a brief look at the lyrics of The Clash’s ‘White Riot’ you may be forgiven for thinking that Joe Strummer, Mick Jones, Paul Simonon and Topper Headon were advocating for some kind of race war or, at the very least, an ‘uprising.’ But that notion couldn’t be further from the truth.
Joe Strummer and Paul Simonon were living in Notting Hill during the summer of 1976. Though the leafy suburb is now considered one of the most desirable locations in London, at the time, it was largely split into factions. On one side of the neighbourhood lived the affluent members of the capital’s high society and, on the other, lived a high proportion of low-income families and, more often than not, Jamaican immigrants. Strummer and Simonon’s immersion in this culture would greatly influence the band and their debut record.
In fact, the city’s temperature was reaching a fever pitch, and the Jamaican traditions that had been building in the capital would influence almost all of the punk bands as they exploded across the capital. For those involved in the punk scene, it was clear that, upon closer inspection, the oppression being felt across the poor working classes transcended race and culture. This notion would intertwine these two juxtaposing rhythms and not only feature on their debut in the form of ‘White Riot’ and their cover of ‘Police & Thieves’ but also on their seminal album London Calling. However, it was something Strummer and Simonon would lay down on The Clash’s debut single, ‘White Riot’, most clearly.
The duo were surrounded by police brutality and oppression as they lived in their predominantly Black neighbourhood. Seeing members of their community stopped and harassed by police was a near-daily occurrence. The tension between Notting Hill’s residents and the police was beginning to overboil, and it came to a head at the Notting Hill Carnival. The 1976 event combusted into a scene of riots and police violence as the neighbourhood refused to be bullied any further and stood up for themselves. It was a spark of rebellion that Stummer had been waiting to see for a long time.
Leaving the event, Strummer and Simonon pondered on why white kids weren’t fighting the good fight too, and they used ‘White Riot’ to do it: “Black man gotta lot a problems / But they don’t mind throwing a brick / White people go to school / Where they teach you how to be thick.” It was a deliberate foghorn to the masses. Take direct action or be acted upon.
After all, it had been a crushing few years for the working class. The economy was in a deep, dark slump, with inflation topping twenty per cent and, in 1975, unemployment had passed two million – an astronomical number. When you couple that with the kind of pop music drivel that was topping the charts at the time, you could feel the energy of punk bubbling up.
Strummer explained to NME about the song’s contentious lyrics: “The only thing we’re saying about the Blacks is that they’ve got their problems and they’re prepared to deal with them. But white men, they just ain’t prepared to deal with them–everything’s too cosy. They’ve got stereos, drugs, hi-fis, cars.
“The poor Blacks and the poor whites are in the same boat.”
‘White Riot’ wasn’t a call for a race war; it was a demand for a focusing of issues and a rallying call to pick up your bricks and stones and follow one another into a new, freer world. While it may not have heralded a new age of libertine thinking as hoped, it did incite many political punks to begin their further reading and continue to fight the good fight in the name of political and social justice. In truth, it set the blueprint for Strummer and The Clash’s modus operandi.
Sadly, without a continuous dialogue about the song, it was picked up by undesirable and disreputable factions. Some punks became so enamoured with the track that it began to be misused in racial rallies and was often misquoted as a document of white power. Strummer remained determined to keep control of the narrative and tried to play it wherever he could after some venues asked the band to stop performing the track. While The Clash would always ignore that request, Mick Jones was also keen to drop the song, and during a heated conversation backstage in 1979, Strummer thumped Jones during an argument about the track. It left Jones wearing bandages to complete the group’s encore.
Their rebel attitude, combined with a razor-sharp wit and politically charged lyrics, raised the bar for what was possible in the embryonic moments of punk rock. Billy Bragg once said of the band: “were it not for The Clash, punk would have been just a sneer, a safety pin and a pair of bondage trousers.” And he’s right.
While other groups may have burned brighter or indeed just been a flash of smoke, The Clash were a furnace of ideals and ethics, the kind that could solidify the porcelain thoughts of punk rock. They churned out the kind of steam that pushed locomotives off the tracks and kept them going through dirt and gravel. And while much of it was propelled by punk tunes, there was a heavy dose of ideology attached too.
‘White Riot’ made The Clash the only band that mattered.
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That dopey Thunder song on 11:07 - Feb 23 with 2179 views
That dopey Thunder song on 23:03 - Feb 16 by Badlands
Better hurry cos it may not last!
For some local flavour ..
C'mon Man
Come on boy(s) do something Just a little bit would help It's better than doing nothing Instead of sitting round thinking of yourself Get up, c'mon Get up, c'mon Get up, c'mon Get up, c'mon
Keep on Running Spencer Davis Group
This is going to hurt Bonnie Tyler
it's a heartache would be more appropriate given how Russ has us playing
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