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The common factor linking Blair and Blur is that they made thoroughly sure to get their sell-out in first, to make perfectly clear that the dream was over, that there would be no more experiments, no more utopias, only a constricted, and as the still-unfolding financial crisis makes clear, utterly misnamed ‘realism’. The generation that came of age in the mid-late 1990s were perhaps the most apolitical of the 20th century. leaving a mess which those born in that decade are struggling to clear up, through the student movement against the Tory-Whig Coalition government – whose Prime Minister, a fan of the Smiths and the Jam, displays impeccably Britpop tastes. Pulp were alone at the time in holding onto the possibility of utopias and alternatives, in being able to use the world ‘socialism’ without smirking – although they didn’t create an alternative so much as carry the idea through a most unsympathetic period.
I have a memory of an Irish Times music journo summing up the Blur versus Oasis pop rivalry with, and I am obviously paraphrasing here, ‘while both sides fought over chart positions it was Jarvis on his push-bike who swooped in to steal the crown’. I was a fan of Pulp‘s music (I am horrified to discover having followed that link that I just missed their Sydney gig), both due to the catchy songs as well as my own contrary desire to stand apart from the mainstream taste-setters. Of course Pulp were not exactly underground, although following Jarvis led me to the amazing Oedipus Schmoedipus album by Barry Adamson, so I am grateful for that.
Owen Hatherley makes it quite clear early in this work that Uncommon is not intended as a prosaic discography – or even a biography of the magnetic Jarvis – intead it is an account of the band Pulp represents, the contrary associations it projected against the background of New Labour and Britpop at its height, an uncomfortable reminder for this narrow politically-minded subset of public school demagogues and PR denizens that Britain’s class culture was far less bucolic than their press releases would have the public believe. Damon Albarn’s mockney facade is here twinned with Blair’s ‘yeah yeah yeah‘ deceptive superficiality.
The 90’s were awash in a pre-packaged faux nostalgia for previous periods – the mono-cultural setting of Britain’s past cited in order to eclipse its multicultural present; the fashions and empty rebellion of the sixties stripped of any political comment. Even Northern rockers Oasis were at it, Noel Gallagher’s lyrics summarising the druged up euphoria of rave culture, but weighed down with post-Beatles musical ballast. Pulp, Hatherley argues, instead situated their music and lyrics in the band’s experiences coming up in the politically marginalised urban environment of Sheffield, with the promises of reform and social improvements made during their childhood repeatedly betrayed.
The evolving abilities of Jarvis Cocker as a lyricist is also examined. The song ‘My Legendary Girlfriend‘ released in1990 is liberally quoted from, demonstrating the singer’s talent not just at evoking a time and a place, but in telling a story. As the band progressed Pulp’s lyrics became decididly risqué, with Jarvis casting himself as a suburban lothario, an insatiable in his pursuit married women instead of the teenage girls that populate the chart ballads. Black humour becomes more prominent in the music, with an evident desire to expose the listener to a rage of emotions beyond simple titillation and yes, even expose the political hypocrisy of the era. One find of Hatherley’s in particular is the little-known, bombastic b-side Cocaine Socialism, a blistering indictment of New Labour.
Of course singles like Common People and Disco 2000 (which I recall Jarvis blithely revealing in an interview he wrote to secure royalties for the Millennium) from the best-selling album Different Class launched the band into a difficult period of fame, confounding their attempts to use it to their own ends. The decline of the band is treated as a further opportunity to describe the frustrations of the neo-liberal 90’s and early 2000’s, as much as result of internatl pressures as it was their failure to be pidgeon-holed by the music industry.
Hatherley has produced a perfect tribute to Pulp and the time that produced them as a band, invoking the sincerity of their ambitions as musicians and story-tellers. This account of their career is an excellent excoriation of Britpop and New Labour hagiographies.
With thanks to Zer0 Books for my review copy.
Take us out Mr Cocker
The crowds in St. Peter’s Square parted as the Prod Bigot Incompetents rushed the IRA Jesuit.
Father Ryan O’Brian was almost taken by surprise as the howling bluenoses came charging through the crowd, decked in Rangers strips and King Billy tattoos. Not a sight you saw every day in Vatican City.
“Aw, not youse lot again,” he sighed, producing a heat-seeking surface to surface missile launcher and a Stanley knife from under his cassock.
Stephanie, early on in my blog-writing career, tried to convince me not to use any swear-words in these reviews. I have a foul mouth sometimes, so it was tough. This book, however, this book almost defeated me. It has more cursing per square inch than a pub showing Monday night football.
The plot, such as it is, is concerned with the millennia long history of conflict between the Church and the State. We meet Jesus and his disciples in a scene reminiscent of Cyrus addressing the gangs in Walter Hill’s The Warriors. The Apostles are in fact a revolutionary brotherhood of peace and love and Jesus has returned to them to rap about eternal life. Of course then Saul shows up and ruins everything, deciding following the massacre to follow the letter of Christ’s teachings if not the spirit and found the monolithic Holy Roman Empire. We then cut to Henry VIII, speaking along with his courtiers in a thick Glasgow accent, breaking from Rome and sparking the present-day conflict.
Father Ryan O’Brian is at the centre of the conflict, a wiley assassin who specialises in playing one side against the other. The Pope presides over a corrupt cabal of deviants who are attempting to undermine the Queen of England. She, in turn, is a foul-mouthed monster, whose three sons are plotting to murder her in order to acquire the throne. O’Brian is not able playing his cards close to his chest in these colossal conflict, he appears to be unkillable. God literally loves him too much.
Scatology rules the day in this book, building to an appropriately literal apocalypse, but the moment I decided I was actually having fun was when the author inserted an ad for defunct publisher Attack! Books into the book itself! I found an interview with editor Steven Wells outlining the approach behind these hyper-pulp novels. The scene with the unnamed Queen, face smeared in baked beans (….I guess it’s a fetish) laughing herself into hysterics while reading various titles from the imprint such as Tits-Out Teenage Totty, Satan! Satan! Satan! and Ebola 3000, followed by a postal address for any prospective new readers to order their own copies.
Now that’s funny.
Yes the language is rotten to the core. I am sure your average person on the street will be offended by Udo’s descriptions of venal priests, idiot princes and a psychotic Queen. He intersperses chapters with a series of extracts from conspiracy theories regarding the death of the Princess of Wales, the ties between the Royal Family and Nazism and in turn Hitler taking inspiration from the structure of the Jesuit order. The overt message of the book is that these two institutions cannot be trusted, built as they are on a history of conquest and war.
Oh and Jesus was a socialist.
‘Granny Weatherwax is going to hear about this, and you’ll wish you’d never been born…or un-born or reborn or whatever you are!’
‘We look forward to meeting her,’ said the Count calmly. ‘But here we are, and I don’t seem to see this famous lady with us. Perhaps you should go and fetch her? You could take your friends. And when you see her, Miss Nitt, you can tell her that there is no reason why witches and vampires should fight.’
Pratchett and vampires? Oh you do know how to make me happy.
I have always liked the Discworld take on vampires, which is essentially that they are pathetic poseurs (which is how you spell ‘posers’, in this instance). However, the Discworld also happens to be a fantasy world where racial pluralism is a reality (take that Tolkien!) so there are vampires who are members of the Black Ribbon society in Ankh-Morpork. Sure they are undead, but do they have to live as monsters? – is their creed and it is a very amusing take on the traditional fiend.
With Carpe Jugulum Pratchett returns to oldschool vampires, with a slight twist. No more talk of temperance. Just systematic murder, organised under the simple principle of their being superior to humans and all the other ‘low’ races of the Discworld.
The story itself is set in the kingdom of Lancre, the setting for most of Pratchett’s Witches novels. Now some folk like Rincewind, others Vimes, but my personal favourite Discworld protagonist has always been Granny Weatherwax, the witch who will brook no nonsense (needless to say I am also a big Nanny Ogg fan). At the start of the story Granny is feeling her age once again, as well as a sense of isolation. She abandons Lancre in a fit of pique, believing that she was snubbed by her fellow witches and Queen Magrat when she does not receive an invitation to the royal baptism. Of course her departure comes at the worst possible juncture. King Verence, the former court fool who was revealed to have royal blood, is once again trying to be modern and extends an invitation to a very important family from the Überwald region. Except of course they are vampires and by inviting them, Verence has literally just handed them the keys to the kingdom.
Only Agnes Nitt seems to be immune to the glamour of the vampires. The youngest of the Lancre witches, Agnes literally has a thin girl inside her trying to get out – which is to say, she hears this voice in her head making a running commentary on everything that she does wrong. This ‘Perdita’, allows her to resist the influence of the vampires, enough for her to realize what is happening to the rest of the citizens of Lancre. Her only companion is a young priest from the theocratic state of Omnia, last seen in an early Pratchett novel Small Gods (which happens to be one of my favourites). Mightily Oats suffers from profound religious doubt about his vocation, so like Agnes he too is of ‘two minds’, about everything. Together they try to organise the people of Lancre to rise up against the racial supremacist vampires and find Granny Weatherwax before it is too late.
Pratchett is simply too clever by half at times. Yes on initial inspection this book seems like a merging of Small Gods and that *other* book about Lancre falling victim to an invasion Lords and Ladies. It is a brilliant combination of themes though. The crisis of faith suffered by Mightily Oats allows the writer to expound on his humanist beliefs to great effect.
What’s more the book also addresses the limits of tolerance in multicultural society. This is something of a bugbear with me, the notion that ‘multiculturalism has failed‘ continues to gain traction in political circles, which is absurd as the definition of what it means seems to change all the time. Different races living together is nothing new. What has changed is that now there is this expectation that races should be treated with equal respect, under a shared national identity, which is where politicos come grinding to a halt. How can a statesman exploit class and racial divisions in a multicultural society? The very idea.
Pratchett wittily dispenses with all of this in a book about vampires, little blue people with Scots accents and a dwarf highwayman. This is why he is the master.
If we are to properly understand women’s oppression in the West today, objectification and sexual performance must be understood as work. The sexual sell is real labour, propping up a socially mandated measure of erotic capital. From the working hours devoted to the purchase and strategic application of clothes and hair and beauty products, to the actual labour of dieting and exercise, to the creation and maintenance of sexual persona, self-objectification is work, first and foremost. Female sexuality, which every day becomes increasingly synonymous with objectification, is work.
Yesterday afternoon I was in my favourite sandwich shop in Bondi Junction, enjoying my avocado and salami while reading my book when I overheard an interesting radio advert. Two women are casually talking to each other and one says “You’re looking tired.” I must have zoned out at that point, because when the ad suddenly jumped to the name of a plastic surgeon, I realized that looking ‘tired’, apparently requires going under the knife now. What a wonderful world we live in!
Meat Market is Laurie Penny‘s first published work of critical commentary – of many I hope. It joins an impressive amount of journalistic writing, which can be found on her blog Penny Red, as well as The Guardian and New Statesman. Penny presents an overarching assessment of how many conflicting issues facing women today, from the continuing commodification of the bodies of women to the fragmenting within feminist ideology itself.
As such Meat Market is not a feminist work that continues to spell out basic tenets of the movement, already fought over for decades, instead challenging the complacency surrounding such notions as patriarchal society, or the modern liberated woman. “Why are we so afraid of women’s bodies“, she asks, that peculiar loathing for the female form in culture which demands it be plucked free of hairs, nipped, tucked and starved. I am reminded of Julia Kristeva’s theory of the abject. However, this trend is highly visible in contemporary society and not an idea limited to academic journals about the unconscious.
Penny identifies the constant focus on feminine appearance as a form of labour, one which necessitates a state of constant anxiety. Far from being liberated, women today face an increasing set of prohibitions on their behaviour. Feminism itself is blamed for any societal trend that is considered bad, such as the breakdown of the family, or even teenage drunkenness. So how could it be said that female liberation has occurred?
It is this notion of everyday ‘labour’, that the author uses to investigate the hypocrisy of attitudes towards sex workers. Pornography has replaced natural sexuality in the minds of many, burlesque commodified from an ironic vision of the aristocracy to a commercial entertainment, the fetishised female form a marketing device for every product under the sun – and yet women who sell their own bodies are viewed with contempt, denied basic protections under the law. The prostitute is denied any agency in the media, described variously as drug addicted, or innately criminal.
Feminism has failed to address the rights of the sex worker, even as luminaries such as Germaine Greer and Julie Bindel have failed to acknowledge the status of transsexuals. Instead mainstream transphobia is indulged, gender reassignment surgery seen as a lifestyle choice that undermines the aims of feminist ideology. Penny points out that such a stance fails to consider women who are intersex and that by refusing to defend the rights of transsexuals, those who seek relief from their feelings of body dysmorphia are left at the mercy of the medical establishment.
Penny also discusses the treatment of anorexia in the media, which only reinforces the myth that women (as well as a growing percentage of men) begin to starve themselves out of a desire to appear more sexually attractive. To counter this claim she includes testimony from several anorexics describing how they in fact desired to eliminate any trace of femininity from their bodies, while newspapers feature the images of ‘size zero models‘.
The author insists that feminism must rediscover its political impetus and give recognition to the women whose lives are spent working on multiple fronts, as well as engage men who have become disempowered themselves.
This book presents a compelling argument for the reassessment of feminist values, as well as the need to challenge the false consciousness of modern men and women. Personally charged invective that demands to be heard. I read over underlined passages repeatedly after finishing the book.
With thanks to Zer0 Books for my review copy.
The fat of the land has become the fat of the supermarket; and the fat of the supermarket has settled around our waistlines. Hunger is not the spectre that stalks the lives of men and women in modern consumer societies: the enemy now is greed.
When I first read Richard Dawkins‘ The Selfish Gene I became fascinated with the notion of memes. I was enthused to discover that someone had invented a theory for ‘viral culture’, a unit that represented the transmission of ideas. Dawkins also wrote in a very clear way about evolutionary science, in a manner that engaged the reader and explained concepts that rarely escaped the academic lecture hall. While I do not always agree with Dawkins, as a proselytiser of scientific theories his status on the world stage is essential in contributing to the exchange of ideas.
So when Richard Girling, a writer for the Sunday Times magazine, opens his discussion of greed as a component of human nature with a summary of Dawkins’ notion of the ‘selfish gene‘, my expectations were raised. As I have said above, Dawkins is a fine writer, one who inspired vociferous argument from other equally eloquent science writers, such as Daniel Dennett and Steven Jay Gould.
Girling rephrases Dawkins’ argument in his own words, before segueing into an anecdotal discussion of greed. Western society is one with a preponderance of available food, possessions and sex, with Girling initially drawing a connection between contemporary actions and early hominid acquisitiveness.
The difficulties with even this initial section of the book arose for me from the opening chapter. There is a confusion of tone, the scientific discussion mismatched with jocular asides and observations of British society. For the majority of the book Girling makes comparisons between his observations of life in the UK with the various studies of greed under discussion. As a result the arguments presented feel insular, perhaps understandably so given his career in the British press. Still this felt limited.
Further problems emerge when he tackles the global economy, the history of the church, feminism and third world poverty. Perhaps you can tell where I am going with this. So much of the material here is familiar. Well of course, I hear you say, this is the 287th book you have read in as many days. You are going to retrace your steps every now and again.
When Girling mentions the gross profits earned by Goldman-Sachs, I remember reading A Colossal Failure of Common Sense. When the crimes of the Church fall under discussion, I sigh, having endured the horrific descriptions of abuse featured in Geoffrey Robertson‘s excellent book. His condemnation of the WTO and the World Bank is reminiscent of Naomi Klein’s The Shock Doctrine.
There is this sense that Girling has simply absorbed the work of so many other writers and theorists and is simply splurging his interpretation back onto the page. Greed is a fascinating theme, but there is no coherent argument throughout. Is this a work of science, sociology, or economics? Of course an account of this element of human behaviour should touch on these disciplines, but the book itself feels like it is dipping in and out.
You know what? I blame Alain de Botton. Opening with appeals to various received ideas and then indulging in conversational anecdotes, it is the same formula employed by that populist philosopher.
Indulgent, repetitive and superficial. I was not greedy for more.
My journal is filled with illustrations and photographs – and yes, even postcards – of places I have been. But let me make one thing clear. I never traveled back in time for fun. I never meant to anything bad. All I ever wanted to do was learn from the past and share what I learned with everyone I could. But most of all, the main reasons I continue with time travel is to find my parents who disappeared so long ago.
Lori over at The Next Best Book Club has proposed a very interesting initiative. She is gathering together book bloggers to create a network dedicated to indie books and self-published writers. It is a very good project, so go and have a look. Shortly afterwards I got an email from today’s author Scott Cardinal, along with a pdf of the novel, which he co-wrote with his cousin Marc Newman, who apparently teaches history in period costume!
This is quite a telling statement, as The Adventures of Justin Tyme (subtitle Mother Jones: The Most Dangerous Woman in America Volume 1) features a village dedicated to maintaining the lifestyle and conduct of late nineteenth century peasant life in America. It is evident that Cardinal and Newman truly believe that greater attention should be paid to the historical past and they make a good case for such an imaginative project for a community (despite this being a work of fiction….with Native American mysticism and time travel, but I’m getting to that).
Justin Tyme parents have been planning to move to family to work with relatives in the experimental commune of Asheville, North Carolina. Before their final departure from New York, exchanging all the modern amenities of city life for hemp clothing and horse-travel, Justin’s mother and father vanish. Left distraught, the teenage boy has no idea where they might have disappeared to. Knowing that his parents were involved in doing secret work for the government, there is a good chance that they could be anywhere in the world.
Justin’s aunt and uncle bring him with them to Asheville as originally planned. The novelty of the small town serves to distract him from his recent loss and shortly after arriving he makes two new friends, Jett and Catrin, who explain to him what the purpose of the township is:
“Basically, they felt most schools at the time – and even today – made no effort whatsoever to prepare students for the real world, but merely taught them basic information and made sure they could read and write. That just was not enough. That has never been enough. So our curriculum herehas always been, and always will be, quite different from your normal everyday school. In other words, we really learn great stuff here!“
However, one resident of the community seems not to approve of its benevolent intent – Professor Woolkins, who has been entertaining corporate types looking to buy the land and convert it into a tourist attraction. His history lessons on the use of child labour in America during the industrial revolution are also disturbingly critical of the notion of protection laws for minors and he has an unusual collection of artifacts in surprisingly good condition.
This is where the time travel comes in. I do not want to give away too much, but given the title, yes our young hero does discover a method of journeying back through American history and even meets Mother Jones. There is also references to alien visitations, the aforementioned Native American mysticism – the tribe in question here is the Cherokee – but what grabbed my attention here was something far more interesting.
This is ostensibly a work of educational fiction, but it also represents a stout defence of trade unionism and a critique of how society exploits children. Unfortunately while child labour laws were passed in the United States, the depravity and miserable conditions witnessed by young Justin in 1903 persist today. In countries like India and China, and many other places too for that matter, companies in pursuit of high profits continue to use children to do tiring and dangerous work.
For this aspect of Cardinal and Newman’s novel I feel I must applaud them. This is not only an enlightening piece of children’s fiction – and how often do we hear that – but it is also a welcome critical voice against rampant profiteering, at a time when such methods are once again seen as the norm.
Fun, informative and surprisingly impassioned.
With thanks to the author for my review copy.