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!
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 than Oasis happening in the 90s. The issue here is that no other band got so big, so phenomenally quickly, and the question is whether anything interesting can be said to explain that – 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. Continue reading
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.
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
I am in print this month, having written a chapter on women in post-punk for Julia Downes’ new history of the girl band, Women Make Noise. A surprisingly difficult part of this was establishing what we talk about when we talk about post-punk. Post-punk’s disorderly, subversive and category-resistant nature has seen it marginalised in accounts of its era, although the past few years have produced a handful of useful retrospectives, as well as the early-2000s revival of post-punk musical techniques which, if you still can’t explain what it is, at least make it easier to explain what it sounds like.
For me, a large part of post-punk’s significance was that it seemed to involve an unprecedented amount of women as artists, fans, critics and ideologues. Extending the gains of punk’s emphasis on DIY culture, accessibility and amateurism, post-punk women were able to take their bands in experimental and innovative directions. Post-punk’s ideological concern with the politicisation of the personal, and with identifying and promoting authenticity in the face of popular cultural stereotypes, lent itself to exploration from a feminine and feminist angle, resulting in lyrics which demystified and deconstructed conventional femininity, love, sex and romance, and which analysed social and cultural pressures on women or the tensions of personal relationships in implicitly political ways. Continue reading
The last time I wrote that yes, I did like American Psycho, and no, that wasn’t because I’d only seen the film, I was pleasantly surprised to hear that other women felt similarly, but I’m aware that we’re still a minority. American Psycho proved controversial even before its release, its unedited manuscript pushed from publisher to publisher, leaked extracts from it incurring public outrage, and its eventual appearance leapt upon by critics with the single-minded speed of a rat up a Habitrail tube. In terms of people judging the book without having read it, not a great deal seems to have changed. Continue reading