Where is chumbawamba from

I get knocked down, but I get up again You are never gonna keep me down I get knocked down, but I get up again You are never gonna keep me down I get knocked down, but I get up again You are never gonna keep me down I get knocked down, but I get up again You are never gonna keep me down.

He drinks a whiskey drink, he drinks a vodka drink He drinks a lager drink, he drinks a cider drink He sings the songs that remind him of the good times He sings the songs that remind him of the better times. But few know the story of the anarcho-pop band behind it, Chumbawamba. But that was way back when. Yes, this is someone who was someone once, someone who truly believed he was at the forefront of the revolutionary vanguard, that he was the voice of the people.

But now, now this is someone who will only be remembered as a one-hit wonder in the Rock and Roll Hall of Fame, a washed-up, rinsed-out retired radical. Yes, this is someone who was someone once. I get knocked down, but I get up again You are never gonna keep me down I get knocked down, but I get up again You are never gonna keep me down I get knocked down, but I get up again. So, talk about this remarkable group that you were a lead singer in.

And that introduced us, as a band, to the concept of anarchism, and we sort of embraced it. We squatted a house together in Leeds. We lived communally. And we—. There was about 12 of us living in the house. And we lived our lives trying to follow anarchist principles. And we had a band, and we thought that the—it was incumbent of us to do something political in the music that we were creating.

Where am I going? Where do I fit in? A lot of people only know us for that one song. And talk about the success of this one song. And it just went absolutely—it went absolutely crazy. You are never gonna keep me down. He remains in jail. He was on death row for more than two decades.

Our guest is Dunstan Bruce of Chumbawamba, making a film about it, also one of the lead singers in it for many years. Talk about your experience on the David Letterman show, how you got there, how you sang the song. We were suddenly—we had existed on an underground scene for years, on the periphery of the mainstream, and then suddenly we found ourselves right in the belly of the beast.

We did it on Jay Leno, as well, and then we famously changed the lyrics at the Brits, as well. So it was something that we did as a matter of course. I think we went off to do a show at Irving Plaza straight afterwards or something like that. And they did. And so, what was significant for us was that it felt as though—because we got a lot of—we got a lot of criticism for signing to a major label, for having a hit single, for entering the mainstream, and it just felt at that point that that made it feel worthwhile to us, that we were trying to do something with the position we were in.

And we were using—that was just one example of us trying to use that platform to talk about other things that were far more important and far more interesting than just being a pop band. What kind of response did you get to it? It was a roller coaster we were on. We were just aware of the fact that we were leaving this trail of chaos behind us that the record company had to deal with, all the—it was—. It was the Lipman brothers who had to deal with it all. So we had a great—you know, we had a great time.

It was always far more interesting causing trouble than toeing the line. We were passionate about our politics and what we wanted to do while we were in a band and what we wanted to do with that position. And so that seemed like the perfect opportunity to mess things up or have fun with it.

Is that right? The Brits. Now, for an American audience, if you can explain what that is, and if you can talk about this moment? Would it be the Grammys or something like that? It was on that sort of scale. It was the biggest music awards ceremony in—maybe in—definitely in Britain, maybe in Europe. We were up for best single of And then we eventually got cajoled into doing it, because we were allowed to show a film.

We made our own film that was the backdrop, that was all about various protests around the world that were going on at the time. And we changed the words again to the chorus, because it was—the previous May, the New Labour had just been elected as the British government. And then, because we had this awards ceremony, we invited a couple of them along to the ceremony with us.

So, if we did win the award, they were going to go up, because at that time it was live. They were going to go up, collect the award and say something about their situation with their strike. And they spotted—somebody spotted John Prescott had turned up at this award, because at that point New Labour were trying to cozy up with people, musicians and artists. You know, they wanted to have like Oasis turning up at Downing Street for, you know—and it was all like just for—just for press, publicity sort of stuff.

But the dockers we were with said that the—that Prescott had deliberately shunned them. And so, it was one of those occasions where, you know, there was—we had all been drinking. Who exactly poured the ice bucket over his head? Both did, yeah. But it was Danbert who got caught, basically. But then it was like—then we just were all over all the tabloids for like the next week or so.

I think people remember more that, more than whoever won best single in There was a huge, huge backlash in Britain, in particular, because of that, because a lot of people were quite keen on the fact that New Labour had just come into power.

So, we were—we were vilified. But at the same time, we enjoyed the fact that we could again get into this position and say something about why we had soaked—you know, why we had soaked Prescott, and bring the issue of—. So, it was funny, really, because he sort of like still had a sense of humor about it. But he got a lot of—he got a lot of flak.

Somebody else, at some other point, years later, hit him, threw an egg at him, as well, and something. He seemed to be like—he was sort of a bit of a buffoon.

I think he was like a Boris Johnson type before Boris Johnson came along. And so it felt like he was—he became a target, really. What is that phrase, that kind of music? You know, when we first started, I think we thought that how you expressed your anger about the world was by shouting about the world. Join the New Times community and help support independent local journalism in Phoenix.

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She got it, and would have written more episodes if breast cancer had not got in the way. Trust rigorously explores money, family and power structures. And not just regarding the dysfunctional Gettys, but also the Italian kidnappers.

Is the subject matter, the super rich, surprising for a Tubthumping anarchist to be involved with? It was also the most fun Nutter has ever had at work.

Two decades of Chumbawamba was, she says, the perfect training for being a screenwriter. And because people clapping [what you do] for 20 years gives you a lot of confidence. I realised I had the rigour to start something and finish it.

Where does the photographer want her? Somewhere that looks bourgeois, like the flash kitchen, I suggest. She would give me a lift to the station, but her car has a puncture. Is there an Uber service in Leeds, I wonder? Credentials, credibility, dignity — all remain intact. Sam Wollaston.