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.
Alex Niven’s book on Oasis’ Definitely Maybe is out now and worth your time. It’s a book about working-class art, working-class politics, and the decline of both in Britain since the 90s, but there’s no denying the fact that it’s also a book about Oasis. So for the purposes of this post, which isn’t about Oasis, let’s talk about Oasis first:
Yes, it’s alright if you think Oasis were shit. Yes, Oasis went downhill fast – almost immediately, in fact. Yes, Oasis were a more ‘authentic’ version of the freewheeling should-know-better casually chauvinist Lad that, in Niven’s term, the ‘bourgeois wing of Britpop’ attempted to pantomimically portray, and no, this wasn’t necessarily a good thing. Music press, tabloids and lad-mags in the 90s lionised the Gallaghers’ laddishness as part of a tediously retrograde cultural discourse that was intent on rolling back the ‘politically correct’ gains of the decades before. This same discourse imposed a false dichotomy of class, in which Oasis’ supposed proley authenticity was linked with loutish ignorance and excess, while experimentation, education and glorious pretentiousness were presented as the preserve of the middle class. So yes, Oasis were damaging. But more by accident – or by deliberate exploitation by a largely middle-class cultural industry – than by design.
And yes, there was more interesting, more progressive and more worthwhile stuff happening in the 90s. The issue here is that nothing else got anywhere near as big as Oasis, as fast as Oasis, and the question is whether anything interesting can be said to explain that phenomenal mass appeal – you know, beyond the not-even-trying paradigm of “people like Coldplay and voted for the Nazis; you can’t trust people, Jeremy”. The book’s background argument on this, to which I am a rock-solid subscriber, is that, as 90s politics capitulated to a post-Thatcher consensus, a more subversive, anti-establishment spirit persisted in early-90s pop culture – including early Oasis alongside the Manics, Pulp, Kenickie etc – which then got flattened under Cool Britannia, Blairism, and Britpop’s imperial stage. Overthinking it? Yeah, if you like. Better than underthinking it, mate.
(I’d like to stop talking about Oasis now. Thanks.)
The book also argues in favour of recovering a left-populist tradition, in and outside the Labour party, the existence of which the Blairite tendency attempted to wipe off the face of the earth and which now, when not entirely forgotten or overlooked, is presented in a distorted way by left and right, as mere nostalgic sentiment or as bigoted underclass resentment. That the book does this is great. What’s frustrating, though, is that this fairly mild, unapologetic call to remember, recover and revive a British tradition of grassroots socialism – more fully articulated in Niven’s debut Folk Opposition – has to appear in the form of cultural criticism, rather than in open debate in the mainstream of British politics.
It’s become almost impossible, in official political discourse, to even raise the possibility of an alternative to the currently collapsing capitalist consensus and the austerity needed to sustain it. Let’s not be mealy-mouthed here: the imposition of austerity is causing rising rates of homelessness, mental illness and (even) suicide, while the financial elite are becoming richer than ever and we are told to begrudge our neighbour their seventy quid a week living allowance. The Liberal Democrats, in their craven collaboration with the architects of this, have been worse than useless – though if you honestly expected anything more then you’re a first-time voter, a fool, or an SDP supporter manqué. But Labour, the ostensible official opposition, has been almost as bad on any alternative to austerity, clumsily planting their flag on an increasingly crowded scrap of right-wing ground while ignoring the vast expanse of room to manoeuvre that still exists to their left. The possibility of articulating a left-populist alternative is not just dismissed out of hand, but actively recoiled from with a knee-jerk fear out of all proportion to reality.
Part of the point of Nineties Revisionism, whether Niven’s or my own, is to challenge the received wisdom that the turn taken in the 90s was the only one possible, and that its ongoing negative results were regrettable but inevitable. Current austerity rhetoric is a similar kind of received wisdom, a refusal to consider or even admit alternatives, as depressingly prevalent in the Labour party as it is in the mainstream media. That the space for discussing and even recognizing alternatives exists only in the margins of cultural and political discourse is both a result of our neoliberal turn since the 90s and an indictment of it.
I can’t speak for anyone else, but, when deciding to write Clampdown – which is on one level an attempt to intervene in a left-wing politics that often ignores women, and a feminism that often ignores class – I didn’t see any viable space for writing about my particular political perspective and getting it into print. Certainly the prevailing impression, in the academic and post-academic left circles by whom I wished to be taken seriously, was that an unsophisticated, open subscription to the basic principles of socialism, and especially an unashamed focus on class identity, was hopelessly passé. Academia wasn’t immune to the 90s turn to class denial, seeing the direct articulation of class identity as not only outmoded but frankly embarrassing. I assume this distaste for discussing class stemmed in part from the end of the Cold War, and in more recent part from the erosion of working-class access to higher education. Regardless of its parts, as a whole it sucked.
The thing is, cultural studies in Britain has a proud, politically engaged history, from Stuart Hall, Richard Hoggart and Raymond Williams on down. But in the 90s and after the discipline appeared to arrive at an unhelpful level of abstraction, where it sometimes seemed that any relation one’s analysis of culture might bear to the material world was an afterthought, rather than a driving-force. You could have all the theory you liked, as long as you never attempted to practically apply it. I don’t know how much of this was tied to the postmodern fear of being thought unsophisticated for acknowledging grand narratives, for remaining embarrassingly tied to ideology (but only to overtly left-wing ideology, curiously enough), or for giving credit to the continued existence of anything so vulgar as class struggle. The triumph of irony in the 90s made it uncool to even have convictions, let alone have the courage of them.
At any rate, two years ago I wrote a book, out of the wish to bring some of the vanished political aspects of my identity and heritage to wider attention (beyond the limited bounds of, like, my blog), to ask what had happened to their representation in politics and culture, and to engage with contemporary feminism outside of academia. Given the analyses I saw granted the most credence and consideration, I felt the only plausible way of doing this was through a kind of entryism. I felt the need to go undercover, to adopt a sleight-of-hand (“god Britpop, eh, what was that all about?”) through which to smuggle in questions of class and gender, and to focus on talking about pop culture as a proxy for politics, rather than talking straightforwardly about politics itself.
I managed it, of course (and sure enough, Clampdown‘s content got repeatedly described as “refreshing”, which is a highly relative term), so there’s a limit to how much I can complain. In fact, there’s an emergent set of criticism and commentary produced by those of us who came of age in the ’90s – from Owen Hatherley’s pioneering Militant Modernism to Agata Pyzik’s Poor But Sexy – which is concerned with scouring the 20th century to recover roads not taken, lost potential and missed opportunities, to point out that there were alternatives, and still can be. More power to the handful of publishers who enable such excavations. But why do you have to read a book on Oasis, or the Manics, or film, or architecture – or indeed write one – in order to see the vanished tradition of grassroots, collectivist, internationalist small-l labourism in this country even acknowledged, let alone presented positively? There is a constituency, an audience – a market, if we really must – for talking about socialism, and socialist feminism, and the interplay of class, race, and gender in culture and politics, even if the arenas of debate are small and scattered. Currently, in the absence of mainstream mass platforms, we take what we can get – small publishing deals, obscure blogs, niche music series – and we use it to lever open closed doors and closed-off discourses. This kind of interdisciplinary entryism is a means to an end, but it’s hardly helpful if the exploration of alternatives to the current regime stays backed into the cultural studies corner.
With riot grrrl now approaching the status of a heritage industry, not to mention Courtney Love’s current incarnation as the post-grunge Norma Desmond, it can be hard to recall that both of them helped me find my feminist footing on the slippery rocks of a ’90s girlhood. This is a roundabout remembrance of how it happened.
The arts have long been a space for radical expression by women, even if the extent of that radicalism has often gone under-acknowledged. In 1915, the author and journalist Dorothy Richardson produced Pointed Roofs, credited as the first English stream of consciousness novel, using an innovative prose style which she saw as necessary for the expression of female experience. Virginia Woolf observed that Richardson ‘has invented, or, if she has not invented, developed and applied to her own uses, a sentence which we might call the psychological sentence of the feminine gender’. If Richardson’s challenge to linguistic convention in her writing has musical counterparts, one of them is the ‘new, raw and female’ sound made possible by post-punk. Punk removed barriers of precedent and technical expertise to engagement in music, enabling trips into less-charted musical and lyrical territory. But it was in the subsequent voyage of discovery that was post-punk that punk’s revolutionary potential really bore fruit, and the untried, experimental nature of post-punk music was particularly suited to women.
1. For my next trick in the arena of niche overthinking-it monographs, I am going to be writing a book on the Rebecca riots. There have already been magisterial studies of the movement which have focused on its political and economic aspects, but I am going to look at its social and cultural aspects, and the ways in which it had more variety, more politics, and more of Old Weird Wales than is generally acknowledged.
To include: why there was a bit more to the movement than hill-farmers smashing up tollgates in bonnets, petticoats and false beards; the nature of Welsh resistance to early industrial capitalism (as touched on in this post); contemporary ideas of gender and the early Victorian undermining of female social and sexual agency; how Rebecca’s image became a national ‘idiom of defiance’ – basically, a meme – and wider issues hopefully relevant to today, eg “rough” versus “respectable” protest; the traditions of masked and anonymous protesting; and how popular culture can be integrated into popular resistance.
Don’t worry, I’m fully aware that this book will be of interest to about four people at a push.
2. The last time I was in the House of Commons in any official capacity, I was taking students to lobby against the introduction of top-up fees. Our side having narrowly lost that vote, I then got massively drunk in the ULU bar, decided to give up student politics as a mug’s game, ranted at a Sky News crew and eventually had to be carried out to a taxi by members of my delegation.
Last week I went to a conference at Manchester Met to speak (broadly) on intersectional feminism, alongside the excellent Reni Eddo-Lodge. The event had some useful and interesting contributions, given in an atmosphere notable for constructive and supportive discussion, and for critiquing work done previously rather than seeking to reinvent the feminist wheel. Below is a transcription of the talk I gave. It works as both a synthesis of things I’ve written previously on feminism and class, and as a step towards articulating how my own type of feminism developed (clue: this year it’s thirty years since the Miners’ Strike). It also, in a personal best, contains only one use of ‘autodidact’, none of ‘hegemony’, and no mention of the Manic Street Preachers.
The concept of intersectionality has a long history, and has informed the political work of women from Sojourner Truth in 1851 to Selma James’s 1975 pamphlet ‘Sex, Race and Class’. In 1989 Kimberlé Crenshaw’s use of the term emphasised how women of colour experience multiple systems of oppression, and how their experiences and voices are frequently marginalised or erased, even within feminist or anti-racist discourses which aim at justice or liberation. Intersectionality has been the subject of much recent discussion within feminism, some of which has dismissed the concept on the grounds of its supposed academic obscurity and irrelevance to ‘ordinary’ people. I will dispute this dismissal.
The aspect of intersectionality I’ve written most about is the tension between class politics and some of the ways in which contemporary UK feminism is expressed. I’m not suggesting that class is the only dimension of oppression, or the only one worth exploring, but I do see class as something fundamental, and as something which intersects significantly with both race and gender. These interactions are particularly visible in the debate on ‘chavs’, which I see as a point at which class prejudice crosses over with several others. I will look at that debate and at the surrounding context of neoliberalism and austerity in which it takes place. I will then look at how responses to this debate, in attempting to rehabilitate working-class identity, have instead constructed exclusionary models of class based around the idea of the white male worker. I will then finally talk about how the calls for feminism to make itself accessible beyond white and middle-class women, has tended to involve negative or condescending assumptions about working-class women and their capacity for education, political consciousness and organisation.
The long essay linked here is something I wrote years and years back, as an undergraduate, and I have finally now got round to finding somewhere useful for it to live online. It is set at a time, in the late 18th c. Britain made famous by Blackadder the Third, of a rise in popular radicalism, political organisation by artisans and labourers, and campaigns to extend the franchise. The essay looks specifically at the process, in many ways unprecedented and bizarre, whereby organisers of, participants in, and vague or occasional sympathisers with campaigns for popular democracy were rounded up and questioned by the highest echelons of a hostile, uncomprehending and paranoid state. (Think the Thatcher cabinet doggedly interrogating not only the NUM leadership but also the whole audience of a Coal Not Dole fundraiser, or, idk, the present cabinet interrogating UK Uncut.)
Like many things which can be given that kind of build-up, the actual material of the interrogations can be a surprisingly dull read, but there were several aspects that I found, and hopefully the general reader will find, of interest, amusement, and continued relevance, viz:
To begin with, despite the mass arrests of radicals being justified by panicky accusations of treason, this accusation wasn’t a comfortable fit with the evidence. Treason in 1794 specifically related to plotting against the reigning monarch rather than the government, and the societies agitating for popular democracy, despite a preoccupation with Revolutionary France, were invariably concerned more with the latter than the former. The 1794 interrogations and the trials which followed, however, were an abrupt step in a long-term shift of the legal location of sovereign power towards Parliament, in which the extra-parliamentary advocacy of constitutional change became construed as a treasonable practice. In 1795, the new Treason Act defined as traitors not only all those who ‘compassed or devised’ the death or deposition of the monarch, but also those seeking ‘to intimidate or overawe both Houses or either House of Parliament’.
Relevant today? Take your pick. My thanks to the John Thelwall Society, who are great.
* E P Thompson: “But for spies, narks and letter-copiers, the history of the English working class would be unknown.”
** M. Philp, ‘Intrusions’, History Workshop Journal, 65 (2008), pp. 220-7