Variously on music, politics and history – please come along if you’re interested.
Saturday 2nd June: talking about music and misogyny in Under My Thumb: Songs That Hate Women and the Women Who Love Them, with the book’s co-editor Eli Davies and our contributors Frances Morgan and Anna Fielding. Details: http://stokenewingtonliteraryfestival.com/snlf_events/under-my-thumb/
Saturday 9th June: I’ll be explaining the early Victorian primitive rebellion known as the Rebecca riots as part of Chartism Day. Details: http://www.ucl.ac.uk/history/history-events-publication/chartism-day
“As someone who lives in a nightlife district of East London I’m tempted to say this was inevitable with the City as it is right now. After the 5 or 6 largest and most established nightclubs shut in 2007/8 we’ve returned to a kind of feral state, where two bit promoters take over poorly equipped or hazardous industrial spaces and overpack them with young, clueless punters to cover crippling rents and overheads. Well, that and make a quick buck like every other glorified barrow boy in this place, naturally…
The concomitant, deeper sociological issue is that the desperate, selfish panic that we associate with London’s daily life – especially in these years of recession – has spread to the social life of the city. People are simply desperate to eke out a morsel of joy from a in increasingly joyless gauntlet, and will stop at nothing in that pursuit, including trampling (figuratively and perhaps literally) on others.
People drink and drug and smoke themselves senseless at all opportunities and without any real motivation. When the sun finally appears in the midst of yet another dire British Summer the streets and the buses and tubes take on the character of rush hour, even at weekends. Overpriced and soullessly corporate festivals are frantically devoured by those without even a passing interest in the music on offer.
(Add in the corporatisation of leisure, gentrification of east London under the guise of regeneration, turbo-charged slapdash ‘entrepreneurship’ and the increasingly obvious disconnect between austerity rhetoric and where the money actually is. Don’t know the chap above but I’d probably buy him a pint.)
So little allure does contemporary music hold that I forgot the Brit Awards were taking place this year, and spent last Tuesday evening in the bowels of a club in that odd hipster-troubled enclave north of Oxford Street, watching Tim Burgess launch his autobiography. Well, we all have to pay the rent somehow.
You recall the rash of soi-disant Minor Indie Celebs which infested post-Libertines London? If you don’t, I wouldn’t blame you; they were peole like the Queens of Noize, or The Holloways. But if you do, you might also recall that a secondary feature of this period was the reemergence of several 90s indie also-rans (now there’s a tautology for you), lurking in support slots and at DJ sets, most often in the vicinity of Barat and less frequently of Doherty. Apparently the 90s are now officially back – finally! The 90s revival has been ‘impending’ for at least four years – which at least means the 80s aren’t back any longer, unless you count things like politics, economics, society and culture. But the 90s never really went away, their cultural detritus over the past decade continually bobbing to the surface like something unflushable.
Tim Burgess is harmless enough, of course, and to criticise him feels akin to cudgelling a seal-pup. The book, like the Charlatans, is probably a perfect example of its inoffensive, tolerable, un-vital type. After exacting dissections of Blair and Britpop, the 90s as the subject of memoir and history doesn’t even have the shock of the new, although a wider perspective on the music of the period does show what an odd time it was, post-Thatcher and pre-Blair, briefly and freakishly fertile before the greywash. And even afterwards: this happened at a Brit Awards ceremony in the 90s, and so did this. Privatised and atomised examples of protest, sure, but you know, if I somehow missed Adele making a Bastille-storming speech on Tuesday about the scandal of government money being siphoned off by private companies who maintain their luxurious lifestyles off the backs of the unemployed, then do correct me.
Anyway, the only point I vividly recall about Tim Burgess’s autobiography was the repeatedly-mentioned chapter entitled – and I haven’t checked the spelling here – ‘Cocainus’. ‘It’s a portmanteau word’, explained the author, with no great necessity, ‘formed from the words “cocaine” and “anus”‘. Rarely have the 90s been so succinctly summed up.
A spectre is haunting London. My daily commute, never a joyful affair, has recently been granted a further dimension of irritation by adverts on buses, hoving into view with tedious regularity, bearing the image of Meryl Streep dolled up as Mrs Thatcher in The Iron Lady. Thirty years on from her rise to power, and after a minor rash of small-screen depictions – Andrea Riseborough in The Long Walk to Finchley, Lindsay Duncan in Margaret – Streep will now portray her on the big screen, the prospect of which I could have happily lived without.
Having as I do firsthand experience of Thatcher’s impact, her government’s break with prevailing consensus and bloody-minded devotion to neoliberal orthodoxies, an objective and rational evaluation of the woman is probably beyond me. That said, her presumably impending death, although I do have a longstanding appointment at a pub in King’s Cross to dutifully raise a glass, is something I’ll be largely indifferent to. It won’t matter. Thatcher as a person has far less bearing on the current world than what she represents. The damage has been done, the battle lost, and much as I might appreciate a Truth and Reconciliation Commission into the 1980s, Thatcher and her co-conspirators are by now too old and whiskey-soaked to be held to any meaningful account.
Efforts to humanise Thatcher, even when they enlist Meryl Streep, seem discomfiting and deeply bizarre. What she means has transcended what she was, is and will be. The purpose of this post, therefore, apart from being an exercise in detachment for me, is to look briefly at some aspects of Thatcher’s image in political and pop culture, the effect of her gender in her role as a woman in power, and her political legacy. Quick, before the next bus goes past.
Flood Theatre again. Kickstarting the comedy resistance so you don’t have to.
I apologise in advance for both these sketches’ lack of contempt for the weak – or ‘edge’, as Channel 4 call it.
Some of my juvenilia, from when I lived south of the Thames. I wrote this in 2005 for the much-missed marvel that was Smoke, A London Peculiar, and I was inspired to dig it up by reading this post on Transpontine, the compendium of south-east London life. It’s an elegy on my favourite ex-pub in London, which I still miss. Now only the Montague Arms keeps a remnant of the dream alive.
Number one on absolutely no one else’s list of Good London Pubs is the sadly defunct Goldsmiths Tavern. When I lived in New Cross as a student I didn’t go near this place for months – it was open past 2am but was extremely dodgy in look and reputation, you heard various stories about plans hatched and deals done that would’ve made Guy Ritchie come on the spot. Continue reading
Picture, if you will, one of the more vividly and outlandishly grisly works of Hieronymus Bosch. (Hell, in these days of Web 68.0, you don’t even have to waste your energy on picturing it; here y’are.) Now imagine that some vengeful spirit has, in a fit of malevolent magic, brought such a scene to life and has set it trundling between north and central London, twenty-four hours a day, its creatures and creative torments crammed into the stifling confines of a bendy-bus. And there you have a basic idea of what it’s like commuting on the number 29.