This year I’ll be writing a book on Manics album The Holy Bible, along with Larissa Wodtke and Daniel Lukes. My section will focus on the album’s social and political context ie Britain in the 90s, the album’s appeal to teenagers, and reasons why the band had such a huge female fanbase.
As part of researching this book, I’d find it helpful to speak to other fans of the band about the album – both those who, like myself, grew up with the Manics in the 90s, and those who discovered them later. (If you’re interested in what I’ve written previously on the band, most of it is here.)
If you’d be willing to tell me a bit about your experience as a Manics fan, please reply to this post with a contact email or, if you prefer, contact me yourself on firstname.lastname@example.org. Thank you!
In advance of the Manics’ anniversary tour of The Holy Bible, the Cardiff production company Barefoot Rascals is making a short documentary on the album’s history and its impact on fans, involving interviews with Simon Price, myself and others. To get the film produced, we are asking for funding on Kickstarter – please donate a couple of quid here if you can. We are halfway to meeting the funding target so far.
Below is a guest post and pictures by former music photographer Lorna Cort, who remembers the original album tour in 1994 and whose pictures will be used in the documentary.
The Manic Street Preachers were my life. After discovering Stay Beautiful in the Summer of 1991 I’d followed tours, collected just about everything, written too many letters to James, learned to play guitar ( a white Gibson Les Paul obviously!) and helped form the band of fellow Manics fans ‘Dead End Dolls’.
By 1994, I bought a camera and decided I was going to be a music photographer. I can’t remember who gave me a photo pass for Portsmouth Guildhall on 12th October but thank you, I have treasured the results. Back in the olden days of film and developing at Boots, I had no idea how the photos would turn out. As well as manual focus I had to contend with stage divers flying overhead, security guards taking up all the room in the photo pit, and the deafening sound of a thousand screaming fans 2 feet behind me and the flimsy barrier! The gig was over in a flash, I remember James raised his eyebrows ‘hello’ at me, the white sailor suit looked amazing under the lights, the sound was incredible, I wanted to sing along but no, I was a photographer… I couldn’t look like I was actually enjoying myself!
The Holy Bible was a challenge to listen to, it was at times uncomfortable, shocking, it was emotional… and it was perfect. When I look at my photos 20 years later I see the concentration on James’ face, the determination to get all the words out, Nick’s anonymity, head down with a nose-skimming fringe, and I see how painfully skinny Richey’s arms look, and that he has the word ‘LOVE’ written in black marker on his fingers. They were so beautiful, so focused.
I wanted to be part of The Holy Bible – My Testament to share my photos with old fans and new, to celebrate one of the most amazing records ever created and to remember the excitement and love I had for this band. To paraphrase Nick – they remain the most intelligent people I ever met in my life. I so hope this project goes ahead and maybe brings the Holy Bible to new listeners. Thank you.
The first Velvet Coalmine Festival, featuring the best of Valleys music, art and literature, will be happening next weekend. Like Camden Crawl, but with more coal.
Among loads of other acts, I will be talking to the excellent Rachel Tresize about the ins and outs of having been a female Manics fan.
“Velvet Coalmine aims to create a platform for music, writing and ideas in the Blackwood area that allows our voice to be heard and celebrated. It allows our stories to be told and communicated to the wider world without censorship and our cultural heritage and identity to be expressed on its own terms without interference, without suppression and without agenda. The history of the Valleys is littered with exploitation, neglect and indifference but has proved a birthplace to a myriad of thinkers and pursuers of social justice and in an era when Old Etonian privilege continues to shape and influence decision-making and politics in the UK, creating an arts festival influenced by the radicalism of the 1984-85 miner’s strike and the Centenary of the Senghenydd mining disaster feels both timely and appropriate.”
Full listings and contact details can be found here on the website. Come on down.
1. ‘Crumbling Pillars of Feminine Convention’ – on Viv Albertine’s memoir Clothes Clothes Clothes Music Music Music Boys Boys Boys. Sex, punk, feminism, the usual.
3. Retrospective on the 20th anniversary (!) of The Holy Bible, the summer of 1994 and the travails of being a teenage girl, available in the new issue of Planet magazine. Well worth buying a hard copy as it also contains, among other things, a fascinating article on the history of cross-dressing in protest. My piece is accompanied by the photo below, taken some time in the mid-90s when I had taken to hand-spraying a glittery hammer-and-sickle onto my dress, as was the style at the time. Outfit is not currently, as one correspondent suggested, housed in the museum of Welsh folk art.
We cannot get rid of employers and slave-driving in the mining industry, until all other industries have organized for, and progressed towards the same objective. Their rate of progress conditions ours, all we can do is set an example and the pace.
- The Miners’ Next Step (1912)
Of course, having put away excitement and belief and other childish things, I no longer await a new Manic Street Preachers album with the same starry-eyed avidity I once did. (Do you?)
On the title track and its accompanying video, I liked what Lost Communication had to say:
While I don’t doubt that the video portrays places, issues and themes that the Manics hold dear to them (as do I), I fear they have fallen into the trap of adding a romanticism to the ‘noble decline’ of the industrial heartland of Wales. There should be nothing romantic in portraying how working class communities have feebly clung on to life after being chewed up and spat out by a succession of neoliberal governments.
… and I’d add only that the swampland that lies between mawkishness and sentimentality is a thoroughly Welsh place to get stuck. On at least one of the tracks discussed in the Quietus interview, though, ‘30 Year War’, the band seem to succeed in side-stepping the rose-tinted ‘noble decline’ trap:
“It’s not about Thatcher, it’s definitely about Thatcherism, about the establishment across the last 30 years, and it doesn’t matter what government is around, we always love to portray ourselves as this holier than thou country, and yet we have scandal after scandal uncovered, right to the root of power, government, Murdoch, the police, Hillsborough, this stupification of the class I grew up in, which I think all stems from Thatcherism really. The idea that if you break down any power that we had we’re going to be fucked forever…
I find that elitist, ‘We know what’s better’ is so all pervading, from the monarchy to fucking Cameron to Mumford and Sons. We’re just told… what did one of Mumford and Sons say the other day? ‘Either ignore it or celebrate it.’ What a fucking futile attitude. Don’t say anything bad, just ignore it or celebrate it. So what about fascism then? We don’t like it, we’ll just ignore it. It does feel like the last five years has been such a redress of monarchy and establishment and public school through all points of our culture. I feel a bit helpless about it.”
Bang on, of course, as is everyone else who appears to be waking up and wondering what went wrong after the Old Weird Nineties (that Mumfordian ‘ignore or celebrate’ ultimatum is straight outta Cool Britannia, although much of that era was more notable for its ability to do both at once).
I’m glad that bullish bullshit detector of his endures to an extent. It’s encouraging that the disingenuous and damaging nature of both austerity and austerity chic is being increasingly noted, but the lack of analysis and alternatives are still too glaring for this to be any more deeply gratifying. Not that analysis or alternatives have ever been the preserve or the responsibility of rock stars.
Obviously I’m pleased, not to mention surprised, to see my book reviewed in a national newspaper that isn’t the Morning Star. Without wishing to sound ungracious, though, it is mildly exasperating to see the review uncritically reflect the idea that using Big Words makes the writing ‘over-done’ and ‘in thrall to the strangulated cult-studs vernacular’. I do know what John Harris means by the latter term, of course, and I will write at a later point about the regrettable tension that seems to occur in a lot of contemporary writers, invariably ones on the left, between the wish to make one’s writing easily understood and the fear of sounding overly simplistic. The latter, incidentally, often seems to be fuelled by a feeling that, in order to be taken seriously by a small potential readership whom one has been conditioned to regard as cultural and academic gatekeepers, one needs to somehow ‘prove oneself’ by larding one’s prose with gobbets of Žižekian sophistry, lest one stand accused of being low-brow or naïve or Owen Jones or something.
The thing is that these words don’t strike me as ‘big words’ when I’m thinking or writing them, they simply strike me as the most appropriate words to use. I also dislike repeating words, and so I use a lot of words which mean similar things but which I guess might grow progressively more outlandish until the book ends up describing 90s popular culture as ‘atavistic’ rather than simply ‘backwards-looking’. Sorry about that, I guess? Ironically enough though, the review goes on to cite ‘those great pop-cultural intellectuals’ the Manic Street Preachers, whose lyrics were nothing if not a strangulated vernacular of their own. For good or ill, the Manics, in their encouragement of reading and general cultural immersion as a cure for small-town boredom and alienation, were far more of an influence on my subsequent vocabulary than some nebulous villain called Cult-Studs.
So here’s a question. Is vocabulary now considered a class signifier? Does understanding, and using, ‘big words’, mark you out as someone who cannot belong to ‘the ordinary’, ‘the normal’, the demographic conveniently delineated by external commentators as ‘working class’? Or is it the case that one’s socio-economic background does not preclude one having an expansive vocabulary? Might one have gained a knowledge of ‘big words’ from, uh god I don’t know, reading books and reading broadsheets, despite where one was brought up? And does knowing ‘big words’ mean you can never be categorised as ‘working class’? Continue reading
This is the fifth AND LAST in an overlong and overthinking-it series of posts on Wales, history, identity and the Manic Street Preachers, as filtered through the song ‘Ready for Drowning’.
“For a start, the very fact that we were Welsh meant that we had to try 100 times harder than any other group. Even now, in some terrible news magazine, someone’s reviewed the album and the headline is ‘Boyos To Men’. And I’m not saying it’s racist or anything: I just find it incredibly thick. In a way I’m glad I’ve got all that now: it gives me something to rail against, to use as a creative feeder.”
Can you speak any Welsh?
“We were never allowed to learn. And that’s another big bit of resentment in us: it wasn’t on the curriculum for the whole of South Wales. I’d have loved to have been able to speak Welsh.”
“Damn it all, you can’t have the crown of thorns and the thirty pieces of silver.”
– Aneurin Bevan, c. 1956
After all this, I mean, I still feel Welsh, and I still call myself it. ‘Welsh’ for me can be a residual, reserve identity, buried or submerged, but still enduring; something to cling to when adrift, rightly or wrongly; something to anchor me. What the identity consists of, though, I’ve never been sure. It’s not a national identity but a local one, and its localness – the ways in which I feel myself to be Welsh -always keeps me conscious of the ways in which I’m not. Rather than ‘yes, that’s it’, it’s easier to say ‘yes, but that’s not all it is’. Wire in that 1997 interview may well proclaim himself ‘into oneness’, but there is no One Wales. Even beyond the country’s linguistic, geographic and political divisions, there exist multiple fractured identities, defining themselves by the local not the national – particularly through being from X, rather than from Cardiff. Growing up, attributes, accents and attitudes were associated with specific areas, towns, areas of towns, sometimes pinned down to exact streets. The Wales of swords and stone circles, drowned lands, dragons and druids, Taliesin and Eisteddfodau exists in romance alongside the reality of GLC’s Newport, Gavin & Stacey’s and Simon Price’s Barry Island, the drug-soaked, politically corrupt underworld of Lloyd Robson’s Cardiff Cut, the Valleys anti-romances of Rachel Trezise, and a multitude of other identities scattered and self-contained but highly secure in their specifics. To brush under the national carpet all of these peculiarities, to smother them in fantasies of ancient racial purity, the flag, the Senedd, or MTV’s predictably execrable The Valleys, does justice to nothing Continue reading