Tagged: situationism

Rare articles that make me want to stand on a chair and throw flowers.

Bravo, Stuart Jeffries, although this piece is about a third too long.

Also, you know what I’m bored of? I’m bored of middle-class pontificators referencing Situationism. It’s a useful analytical tool for any bedroom-bound fourteen-year-old Manics fan (hi!), but give it a rest now, you’re making it about as interesting as dubstep.

God I’m restless.

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A lot of people won’t get no justice tonight.

Cards on the table: I am a (very) former Labour Party member, a former unaligned-far-left hack, a former student politician, and a current jaded burn-out who’s more or less lost the faith. What I’ve regained since the last election is not the faith but the fear. Seeing this government use the excuse of debt reduction to conduct a sustained assault on the welfare state’s structures and foundation is not something I can stand by and watch. The question, as ever, is how to express this opposition. Saturday saw a TUC-organised official march, fringed with unofficial peaceful protests and unofficial direct action. The discourse after demonstrations is always varying degrees of unhelpful and unrepresentative, as reportage and analysis splinter into shards of individual experience, each of which reflect only a portion of the whole. This is in no way a contribution to ongoing debate, it is merely my own record and reflection.

The black bloc on Saturday was by some accounts the biggest since J18, which made me think that, as I’ve said before, what’s happening now seems like not a revolution but a return to the protests to which I was introduced over a decade ago – the days of carnivalesque anticapitalism and reclaiming the streets. That said, I think our critique of capitalism in the early 2000s was certainly more vague, still post-Cold War, appealing more to globalising and internationalist issues of social justice and civil liberties because less immediately rooted in financial crisis – and perhaps, for the same reasons, less last-ditch and desperate than it currently seems. I don’t know, and to have a clearer idea, I’d have to get out there and see for myself.

I didn’t do a great deal of Getting Out There on Saturday. I remained with a small group of disparately aligned friends and family, massing outside Embankment tube and then crawling through Waterloo and Westminster. There were an awful lot of us. There were gorgeous trade union banners which had seen action throughout the past century. There were Banksy-esque stencils of Clement Atlee’s image. There were official placards manually-adjusted to call Nick Clegg a variety of entirely-deserved things. The Bloody Hell, That Must Have Taken Ages prize goes jointly to those carrying the huge black cube representing the income of the highest percentile of earners, to which was attached far smaller red cubes showing the relative size of the average income (I think), and those driving the miniature tank playing the theme from The Great Escape. Both of these were the best things I’d seen on a protest since the enormous papier-maché bomb labelled ‘structural readjustment’.

The only demo of comparable size I can remember – where the front of the march had walked the length of the route and reached its destination while more people were still at the back of the march, waiting to move off – was the big Iraq protest in 2003. Then as now, those marching were not homogenous, came from all over the country, and held no obvious signs of slavish adherence to the Labour leadership. Nor did I feel alone in lacking both faith in parliamentary process and any burning desire to stand for hours in Hyde Park listening to hackneyed whistling-up from the stage. Hence, by the time of our stop-off in Trafalgar Square, I opted for the pub. When the revolution comes, shoot me.

The Chandos crouches just off Trafalgar Square, and used to be the post-rally destination of most of my comrades whenever we ended up in the vicinity, largely because, unlike many pubs on or near the route of demonstrations, it had no sign on the door banning work-boots, banners and/or placards. Once inside, an illustration of how far I’ve fallen since the early 2000s was provided by there being no one I knew there apart from my old politics lecturer, who failed to recognise me, as indeed he had during most of my time at Goldsmiths. At the bar I got talking to a bloke who, like me, was a veteran of 2003’s enormous anti-war march, to which he had taken his 12 year old daughter. According to him, she’d said, impressed by the turnout, ‘they’ll have to listen to us now, won’t they?’

He told me this and rolled his eyes, as though aware of how mawkish and implausibly convenient an ending this might make to a subsequent spiel on the pointlessness of peaceful protest. But honestly, fuck irony. Politics in the last few years has got so blatantly contemptuous, so transparently indifferent, that I doubt any kid on the march on Saturday would have had that degree of faith in people power.

The Monday after the march, back at work in Soho, I went out to see the damage done. Little trace remained beyond some indistinct scrawlings on the boarded-up HSBC on Cambridge Circus and, further up the sidestreets, a circled-A in pink spraypaint on a couple of flaking black litter-bins. The slogans written on the scaffolding outside Central St Martins – ‘Make the banks pay’, ‘ACAB’, were at least making more of a stab at focused oppositional discourse. Yesterday lunchtime, more than a week on, the slogans on HSBC were invisible under daubs of white paint, the bank was open for business as usual and pretty soon the West End will look, and feel, as though nothing ever happened.

Am I glad I marched? Yes, of course. And I’m still unaligned, and I reject the notion that my lack of a membership card matters. March 26th wasn’t an attempt at revolution, and was more than a bid for space on the front page, and more than an exercise in branding. It was an act of solidarity, an attempt to demonstrate to all who watched and all who took part that no one is alone in opposing the actions of this government. And it did that, even if that’s all it did.

And those who were seen dancing were thought to be insane by those who could not hear the music.

Get the fuck in. Last night I listened to the Top 40 with breath so bated it recalled the near-asphyxiating sixteen weeks when ‘Everything I Do (I Do it for You)’ held sugary sway. And, just for a very brief period, I listened to the 2009 UK Christmas Number One and I was happy enough to want to do the absurd nu-metal dance to it where you appear to be trying to stab your knees with your eyebrows. Oh to be thirteen again and able to snottily explain that it’s Actually about institutionalised racism in the police force and not just anti-authoritarianism, Actually.

I am astonished at this campaign’s success. I know it proves nothing more, and benefits nothing other, than the British public’s appetite for bloody-minded belligerence, but – and this is me saying this – lighten the fuck up. Rage’s victory is a lovely little concordance of popular discontent at the increasingly piss-taking nature of reality tv and the internet’s facilitation of grassroots organisation, and as such a highly positive note on which to end the decade. And it’s probably the best news I’ve had in what for me has been a horrible, dismal, unforgiving, cannot-catch-a-break year. Merry bloody Christmas.

Fuck You I Won’t Tidy My Bedroom: Rage Against the Machine versus The X-Factor

So, the planet’s on fire and our former Prime Minister appears to be an unabashed war criminal, but let’s turn our attention to what really matters, shall we? Namely, the controversy currently raging over whether this year’s UK Christmas number one will be a stage-managed triumph of mass manipulation, or whether it’ll be the winner of this year’s X-Factor again.

Over 700,000 of you so far have pledged to protest at the X-Factor’s stranglehold on the festive music scene by sending Rage Against the Machine’s debut single to number one in time for Christmas. ‘Killing in the Name Of’ is an uncompromising, monolithic beast, rearing its head from the mists of the early Nineties. In a world that also contains the Muppets’ version of Bohemian Rhapsody, it seems an odd choice of challenger. Rage Against the Machine’s chosen vehicle was rap-rock, a clumsy Heath Robinson contraption that eventually collapsed under the baggy-shorted bourgeois weight of Limp Bizkit. As a genre it was never that appealing past the age of criminal responsibility, and I wonder to what extent the pro-Rage campaign is imbued with as much affectionate nostalgia as indified indignation.

That said, I would love to see the seething boiling whirlpool of chips on the shoulder of the British public wash Rage Against the Machine to the top spot, there to earnestly quote Franz Fanon at their enemies until they give in, sobbing, and promise to buy Fair Trade. What I would point out, however, is that the same record label, Sony, is behind both acts. So it’s a purely cosmetic exercise – but okay, let it be one. The principle stands that getting Rage Against The Machine to number one is a symbolic stretching of the standing-up muscles, a semi-Situationist prank, and also that rarest of commodities: a laugh. I can’t do better than this here post at explaining why. The pro-Rage campaign mines a deep seam of appreciation for throwing a spanner in the socio-cultural works. And if it’s possible to harness this collective urge to act purely in the interests of what is known as the lolz, then I’d rather it were done for a purpose more amusing and less terminally embarrassing than, say, the election to Mayor of Boris Johnson.

‘Killing in the Name Of’ has been validly criticised as sludgily, tinnily adolescent, and yes, the massed uniform stomp in defence of self-determination that makes up its petulant chorus is indeed a contradiction in terms. Well done. Enough joyless fuckers have stressed that latter argument, in the same smug and point-missing manner as people so pleased with themselves for having spotted the ironic double-negative in ‘We don’t need no education‘ that they mention it every single time they hear the song, like Pavlov’s dog doing A-level English Lit.

Rage are, of course, much more than their most irritatingly and counterproductively lowest-common-denominator work might suggest. You wouldn’t judge Radiohead on ‘Creep’, or the Manics on ‘A Design For Life’, or poor brave Kylie on ‘I Should Be So Lucky’, would you? Oh, you would? Fair enough then, I’ll see you at the Damon Albarn Country House theme park. The Phil Daniels novelty wheelbarras of condescending moribund Mockney cliche are on me. If you wouldn’t, there’s always this or this or this or this.

A disclaimer: at a formative age, I caught Rage’s 1993 appearance at Lollapollooza, where the band’s response to censorship of music by the batshit-insane Parents’ Music Resource Center was to appear onstage naked but for some strategically placed strips of duct tape. That sight made such an impact that, for ages afterwards, I confused righteous political indignation with near-unsuppressable sexual attraction, to the equal bemusement of my previous boyfriends and the local Revolutionary Communist Party by-election canvassers. Speaking less self-parodically and more seriously, I have also spent a streak of my previous New Year’s Eves in a sticky-floored, damp-ceilinged dive deep in the bowels of Cardiff known as Metro’s, a club more grot than grotto. Metro’s would redeem itself for this one night by a) handing out free tea and toast in the early hours when not even our hardest Valleys Commando could face another triple JD in an indelibly-smeared glass, and more importantly b) at the stroke of midnight, segueing ‘Auld Lang’s Ayne’ into ‘Killing in the Name Of’. It was glorious.

So, at least half of my Rage associations are seasonal, and I have what might euphemistically be termed a soft spot for them. How do I feel about the prospect of their being the Christmas number one? I really don’t think I feel any way at all. Anyone who believes the end-of-year charts to be anything other than a cesspit of cashing in and brand consolidation, a cold-eyed tying up of old rope left dangling by the previous twelve months’ worth of cash-cows, is so touchingly naive that I’d like to have them round to dinner and watch It’s A Wonderful Life. If Rage Against the Machine are made the Christmas number one, it will prove nothing and convert nobody, and Sony will make a killing either way. The collective impetus to make one’s voice heard in this particularly pointless arena is sadly unlikely to translate into participation in, say, next year’s general election. Or at least not unless some enterprising soul decides to exhume Screaming Lord Sutch.

What it will do, however, is demonstrate that there still exists a demographic which clings limpet-like to the hull of bloody-mindedness, prepared to momentarily stir themselves in the interests of nudging the seat of mainstream popularity with a heated toasting-fork. And that, in a society of spectacles and an age of diminishing expectations, is about all we can hope for. Do your duty.