as every other internet smartarse pointed out, both tracks are owned by Sony BMG – so no matter which one sells the most, Simon Cowell wins. In other words, even by raging against the machine, you're somehow raging within it.
But profit isn't the point – or at least it's not the reason I downloaded it. For one thing, I happen to think Killing in the Name is an excellent song, so I've already got something out of it. Most importantly, it contains genuine emotion. Even if the climactic repeated howls of "**** you, I won't do what you tell me!" put you in mind of a teenager loudly refusing to tidy his bedroom – as opposed to a masked anarchist hurling petrol bombs at the riot squad – there is at least an authentic human sentiment being expressed. Zack de la Rocha is audibly pissed off.
Compare this to the pissweak vocal doodle that is Joe McElderry's X Factor single. For a song whose lyrics ostensibly document an attempt to gather the spiritual strength to overcome adversity and thereby attain enlightenment, The Climb is about as inspiring as a Lion bar. It's a listless announcement on a service station Tannoy; an advert for buttons; a fart in a clinic; a dot on a spreadsheet. Listening to it from beginning to end is like watching a bored cleaner methodically wiping a smudge from a Formica worksurface.
But then nobody's buying The Climb in order to actually listen to it. They're buying it out of sedated confusion, pushing a button they've been told will make them feel better. It's the sound of the assisted suicide clinic, and it doesn't deserve to be No 1 this Christmas.
This isn't mere pop snobbery, by the way. I'd rather see Girls Aloud at No 1 than Editors. But The Climb is a lame cover version of a lame Miley Cyrus song. If X Factor can't be arsed to do better than that, its grip on the yuletide charts deserves to be broken.
http://www.guardian.co.uk/commentisfree/2009/dec/21/charlie-brooker-rage-against-the-machine