La-la-la-la-la-la Land

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I have been around for over half a century. I have lived through politically uncertain times. I have lived through politically unstable regimes. I have always felt fortunate not to have lived through the Cuban Missile Crisis, as my parents did as young newlyweds, but I have in childhood and adulthood lived through times of war, pestilence, civil unrest, nuclear brinkmanship, unfavourable election results, betrayal, disappointment, fear, anger, riots, rebellions and a deep, deep sense of the futility of resistance. I’ve voted. I’ve demonstrated. I’ve boycotted. I’ve signed petitions. I’ve marched. I’ve woken up to seismic events that have felt fundamentally outside of my control and experienced powerlessness on an existential scale. With the years, I’ve grown used to lies and scandal and incompetence and greed from the political class, and some days I feel as if the hope has been knocked out of me for good. But I’ve never felt as anxious and depressed about the state of geopolitics as I do today. To stick my fingers in my ears and go “la-la-la-la-la-la” is a constant craving. And that’s not like me at all.

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I wake up every morning with what feels like a rock in my stomach, fearful to log on or turn on the TV. As it happens, this morning, nothing especially bad had happened overnight. President Trump’s National Security Adviser General (retired) Michael T. Flynn, who was forced to retire again after 24 days in the post, is now the subject of a damage limitation exercise designed to blame the leak that exposed his misdemeanours on staff of the outgoing Obama administration. Trump himself has remained uncharacteristically quiet on the issue, perhaps because it reflects so poorly on his choices, or the choices made on his behalf; while counsellor Kellyanne Conway continues to age at a rate of a year a day due to the existential stress of having to constantly lie her way out of a lie.

It’s not just Trump who causes anxiety, with his baby-like disposition and fundamental failure to join the dots between one CAPS LOCK promise/threat and its direct consequences, preferring instead to make a thumbs-up gesture and yell “FAKE NEWS!” at anything that does not please him; it’s the white supremacists he surrounds himself with: predominantly clueless about what it means to take public office and speak oaths but determined to “destroy the state” (Steve Bannon’s words, not mine) from within. I never did understand the Republican desire to be in government and then shrink the government, but I assumed it was a plan based on shrinking its regulatory authority and public spending while keeping the same number of snouts in the trough, except with less of the boring stuff to actually do. It is this boring stuff, I hope, that will eventually bring Trump down – ironically, from within.

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The fact that Trump won the presidency but lost the popular vote, just like his nearest antecedent George W. Bush, clearly niggles at him like a tiny woodpecker permanently poised on his ear and tap-tap-tap-tap-tap-tap-tap-tapping away at his planet-sized ego. We have never before witnessed a man so ill-suited to presidential office. Criticising anyone about their appearance, or their dress sense, or the state of their face, would be cruel and shallow ordinarily. But, as with Bannon, he wears his dark soul on the outside. (Spicer, Conway, DeVos, Priebus, these are straw people by comparison.) Mocking Trump’s elaborate racetrack of hair, or his incompetently and incompletely applied spray-tan (with those goggle marks making his eyes seem ever more like two squashed figs), is childish, and boring. But when the man beneath that haircut and behind those figs is such a negative, uncontrollable and dangerous force, knowing that he has one of the worst haircuts in the world offers a tiny glimmer of respite from all the damage he may wreak in his first 100 days. (This honeymoon period ends in April. I can’t even imagine that far into the future.)

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He won 304 electoral votes, to Hillary Clinton’s 227, and that is a victory. That he mobilised the country’s disaffected is surely without argument. That he did so by not being “a politician”, and by being perceived, thanks to television and banner headlines, as a “successful businessman” (which was “just what this country needed”, we were told time and again by the braying, baseball-capped faithful) is also an empirical fact. In many ways, mainstream politics lost the 2016 US Election. The Democrats certainly lost it as much as the Republicans won it – not least because Trump wasn’t even popular among his own party and Tweeted his way directly to the heart of certain sections of the electorate. Everything about him that I hated while he yelled his way into pole position as the Republican candidate – altogether now: his misogyny, his xenophobia, his vanity, his crudity, his creepiness, his Addams family, his hand gestures – I hate about him still. But an unpredictability  seems to have replaced a predictability, and that’s terrifying. There seems, at present, nothing he can do to put off those he affected to represent, but who, in real life, he’d run down rather than speak to.

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I was terrified of George W. Bush, too. I knew him to be a dimwit, and a puppet, and unstatesmanlike, and he didn’t know anything about the wider world, which he had rarely visited. (Trump had certainly travelled further before becoming president, but mainly to inspect real estate that would clearly look classier with his name on.) Bush was the pliant, lazy mouthpiece for committed Neocons with far more interest in ideological politics and the New American Century – he did their bidding and went to play golf – and in many ways that was paradise compared to what we’ve ended up with now. It does not bear imagining what Trump would have done if Saudi terrorists had flown two planes into two large towers in New York in 2001.

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Actually, I wake up every morning with two large rocks in my stomach. The other has been there longer, since the result of the Brexit referendum. I admit I thought Remain had that one in the bag, and went to bed on the night of June 23 quietly confident that common sense would prevail. I was wrong. I had underestimated people’s hatred of “politicians” and “immigrants”. It’s been a living nightmare ever since, not because of the divisions it has exposed in our society, which were clearly already there, or the fact that I can only see this country turning into an unregulated tax haven with no standing whatsoever in the world and everything bankrolled by China, which is a bit embarrassing for all of us, but because it should never have taken place in the way that it did. A referendum about something as important as the future of the country should never have been winnable by either side by a margin of 1,269,501 votes. Surely – surely! – it should have hinged on a majority of something like 60% at least?

Talking of democracy. The petition calling for Trump to be blocked from enjoying the ego-fluffing privilege of a State Visit, continues to spiral upwards – as I type, it’s at 1,857,318 – but the Government has now stated that it will grant the State Visit, even though it is duty-bound by its own rules to “debate” the petition next week. The words “foregone” and “conclusion” can be joined together in this case. But it has been a simple pleasure to watch the numbers rattle upwards before our very eyes. And a little bit of fun is not much to ask in this dark age.

I have written on my Telly Addict blog about the healing power of Pointless. It may seem trite to regard a daytime quiz show as an antidote to the apocalyptic uncertainty of modern times in the year 2017, but it’s the daily equivalent of a La La Land, and not just Hollywood escapism, but a way to celebrate geniality and general knowledge and fair play, and – hey why not? – the best of being British. Or the best of living in Britain, whatever your background.

I guess part of me must believe that we’ll get through this, whether it’s four years, eight years, or a number somewhere between one and eight, depending on how close to impeachment or a CIA black op Trump sails. Otherwise, I’d be under my duvet right now, rocking back and forth and singing the la-la-la-la song. I’m not. I’m up, and out, and thinking about work and domestic issues and family and films, and tonight’s Pointless. It’s hard to feel proud to be British in 2017, especially with our own conservatives wooing the babyman and doing things with their hands that they would never ordinarily do. Trump has turned our representatives (and sadly, to him, Farage is one) into glad-handing Richard Hammonds to his Jeremy Clarkson, desperate to gain his approval by laughing at his off-colour, racist jokes.

It’s nice to think that the actors and filmmakers who make speeches at awards ceremonies represent us, but they don’t. They represent what the disaffected have been advised to regard as “the metropolitan elite”, which I gather is anyone who lives in a town and reads past the headline in a newspaper. It’s not good enough to exist in a bubble, or an echo chamber – you have to keep an eye on these craven, self-serving, nuance-resistant, unconstitutional monsters; watch Fox News, read Trump’s childlike Tweets, investigate the backstories of his lieutenants; challenge, gainsay, make a withering placard and prove that satire is not dead: MAKE AMERICA SAFE AGAIN; KEEP YOUR TINY HANDS OFF OUR RIGHTS; WE SHALL OVERCOMB; MIKE PENCE LIKES NICKELBACK; GRAB ME BY MY PUSSY I DARE YOU!

They don’t wear white hoods, but they speak directly to those that do, or would do if it weren’t for “snowflake” political correctness. David Bowie got out before all this shit happened. In his name we must overcome. And that starts with getting out of bed in the morning.

 

My indecision is final

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In 2002, I interviewed Michael Moore, a strident, striding leftist, onstage at the National Film Theatre. He inspired me then, and he inspires me still, and you get the sense that he’s born to be in opposition, which suits him fine. His reputation solidified under George W Bush, and seems to be doing the same under Donald J Trump. One of the questions I put to him was about his apparent certainty. I asked him if he ever had any doubts that he was right. He said that if he discovered he was wrong, he’d change his opinion and he’d be right again. It was said lightheartedly but there is something profound about that willingness to be guided by events.

On January 6 last year, I wrote a blog entry on the morning after Jeremy Corbyn’s “revenge reshuffle” (as the rightwing press gleefully dubbed it). He was not yet a year into the job of leading the Labour Party and I was very publicly right behind him. The media was not; it threw up its hands in horror when Corbyn courted what they called “the hard left,” and threatened to cause a “lurch” in that direction. (You always “lurch” to the left; you never skip, or saunter, or waltz.) Kim Howells, a former union man turned Blair loyalist who stood down at the 2010 general election, helpfully described Corbyn’s reshuffled team as “superannuated Trotskyite opportunists” and “lunatics.” But you didn’t have to read the Standard or the Mail to find anti-Corbyn propaganda. Even the Yvette Cooper-supporting Guardian seemed hell-bent on sending him back to the back benches where he belonged. (Like Michael Moore, he seemed perfectly suited to being in opposition – that was his blessing and his curse.) I wrote this:

This was supposed to be the dawning of a new era for British party politics. The idea of a “left-wing” Labour party seemed like an impossible dream before Corbyn’s democratic ascent. It’s still within Labour’s grasp, but they have to stop fighting each other, unite under their leader or fuck off to the back benches. I am a potential Labour voter. I haven’t been one of those since the Bernie Eccelstone/Formula One back-hander and Blair’s pack of lies in October 1997. I can’t be the only one.

I felt that after the embarrassing farrago of Ed Milliband, the second of two consecutive “unelectable” Labour leaders – a description that was technically true, as both he and Gordon Brown had lost general elections – Jeremy Corbyn’s mandate signified hope for the future of the party, and his new style of doing business felt refreshing and honest. New Labour had tried everything else; maybe this “socialism” thing had swung back into fashion and relevance as the Tories tore up the welfare state and prepared the NHS for sale. What better time to have an old-school lefty in a woolly tie with a Lenin hat in charge? I almost considered re-joining the party (I’d last been a member in 1992, and last voted for them in 1997), such was the passion Corbyn seemed to inspire, especially in younger voters, who are literally the future.

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I reacted violently against the press war on Corbyn, the cheap shots, the Blairite bias, the obsession with his clothes. The alternative to Jeremy Corbyn seemed to be Owen Smith. I clung with perhaps unrealistic optimism to Corbyn’s mandate among the rank and file, the support he had in the unions, and the calamitous failure of those MPs who refused to work with him to field a candidate anyone took seriously enough to vote for. I wanted the Bennite right to shut up and knuckle down to the job in hand. But it was not to be. I wrote this:

He’s too quiet, too reasonable, too low-key – all qualities that should be refreshing in the bellowing Bullingdon that is Parliament, but do him no favours with so many louder voices around him. But I also despair of the Labour party. All we hear about are internecine struggles and knives in backs, petty bickering, negative briefing, unnamed moderates firing shots across their leader’s bows. I’m not sure what the answer is. Take better media advice? You don’t have to join them, but you must occasionally beat them.

Despite a number of reasons to abandon ship, I stuck with him right the way through the leadership contest in September 2016, which he won with 313,209 votes, increasing his share of the vote from 59.5% to 61.8% compared with the result of original 2015 leadership election. He received around 62,000 more votes than in 2015, in fact. What a loser! If Corbyn was “unelectable”, then Owen Smith and Angela Eagle weren’t even electable enough to find out if they were electable or not. Their combined failure to inspire repaired any doubts I had. It was clear that nobody within Labour was better qualified than Corbyn to lead. His enemies had had enough chances. But Brexit made failures of us all. And it finished Corbyn off, I think.

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Here is the news. I have changed my mind about Jeremy Corbyn. I stuck with him for way longer than most in the approximate vicinity of the Left. I kept defending him in heated arguments when deep inside I knew he was doomed to fail. In the end, I weighed up the facts and the evidence and I did what I knew Michael Moore would have done. I altered my opinion, which had become wrong, and I became right again.

I aired this revelation on Twitter last night, frustrated with Labour’s failure to even lodge a unified protest against the Brexit bill. At the same time I expressed my fond admiration of the noble 47 (out of 167) Labour MPs who voted against triggering Article 50, defying Jeremy Corbyn’s hypocritical three-line whip. For the record, here are the 47 in full. (This list includes Owen Smith, so I have to adjust my opinion of him, too. Try it – it’s liberating.)

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At the same time reassuring any Labour MP who resigned over the issue (stand up, Tulip Siddiq, Jo Stevens) that they could just come back afterwards was a parody of Corbyn’s woolly-tie style. On the one hand, he’s so reasonable he strays into passive-aggression, and on the other, he’s a dictator who seems to be dictated to by his media handlers. Maybe the media made him this way. Maybe he, too, wishes he was back on the back benches. He’s never seemed comfortable walking out of his own front door and discovering that the media outside seems to be interested in him, and he will not trim that climbing plant that always whacks him in the face, but I think a piece of me died when his aides prevented an ITV reporter from asking him a simple, unthreatening question in November. It’s worth watching again.

I wonder if there is an image of Jeremy Corbyn’s downfall more tragic or poignant than the sight of him hiding behind a glass door, claiming to have been “harassed.” I could no longer defend him after that. It was a dick move by him, and by his aggressive, high-minded minders. I had bigger political fish to fry with Brexit and Trump and a world in flames to worry about an old man’s feelings any more.

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I think it’s OK to change your mind. I didn’t like the first episode of period hospital drama The Knick when I saw it, but I returned to it and gave it another go, then changed my mind about it; and I now consider it to be one of the great TV dramas of all time. Someone Tweeted that it was “big of me” to admit I had changed my mind about Jeremy Corbyn, but it isn’t big, it’s just clever.

Oh, and please don’t ask me, “Who’s going to save us now?” If Labour continues to dig its heels in and refuses to form any kind of coalition with the Greens, the Lib Dems, the SNP, and rise from the ashes, it is doomed to fourth place, or worse. I look forward to having my mind changed on this.

End of

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So, 2016 then. Everybody begins everything they say now with the prefix “So …”, as if perhaps what they’re about to say is a continuation of a previous statement, but actually isn’t. I can’t be the only person to have noticed this. You hear correspondents doing it when asked to comment on the news. You hear contestants doing it when they’re asked to describe the dish they’re about to prepare on Masterchef. Young people seem unable to start a sentence without it. It’s a tick; more like a punctuation mark than a word – a deep breath if you like. Like “like” it has crept into common verbal usage (you’ll note that nobody uses it in written text) and it means literally nothing, as with so much in contemporary dialogue.

So … it was way back in that prelapsarian age that was the second week in January when Squeeze, a band whose original members are around 60 years old, used a performance on the BBC’s Andrew Marr Show to protest against fellow guest, then-Prime Minister David Cameron.

They changed the lyrics of hit Cradle to the Grave to sing the line: “There are some here who are hell bent on the destruction of the welfare state,” with that preening waste of space Cameron watching. Glenn Tilbrook also slipped in the line: “I grew up in council houses, part of what made Britain great.”

It did not bring down the venal Tory government. In fact, the Tory government continued to destroy the welfare state, along with much else when it held a referendum without at any point thinking through what might happen if the British public voted “Non!” to staying in the European Union. Cameron did way more than kill the welfare state, he sleepwalked the electorate into an abyss, and then resigned five minutes after the votes had been counted so that he could spend more time with his money. The political picture has largely been dominated by quitting, and not quitting in the case of Jeremy Corbyn, who is Westminster’s mystery man. They seek him here, they seek him there. I stuck with him for way longer than he deserved, if only to disavow his fellow Labour MPs who sought only to stab him in the back while Rome burned all around them. It has been a shoddy display from them all.

You’ll note that 10 January, the day Squeeze made their valiant protest, is also the day David Bowie died, and with him, the universe. This year has been fucking awful. From Brexit to Trump, via Brietbart, post-truth, alt-right, fake news, black lives not mattering, saying that ice cream is gay, and acts of terror that almost became business as usual amid more unexpected deaths of the supremely talented than any other in living memory, the only response to the passing of 2016 is to say, “Fuck you!”

So, here are my books of the year.

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What was once a refrain has hardened into a truth. Most of my reading happens between the covers of the New Yorker magazine, which has the temerity to arrive on a weekly basis on my doormat (and which feels even more vital since Trump was voted in). However, a nice man at the Mail on Sunday called Neil took it upon himself to send me three books to review in 2016, all of which I enjoyed. They are almost half the books I read. Of the other four, two are by people I know, but both stimulating in their particular fields. And the sixth and seventh are by people who write for the New Yorker, with roots in work they did for the New Yorker: Jeffrey Toobin and Clive James (one of the chapters in the delightful Play All is reprinted verbatim from the New Yorker).

I almost wrote a cover story for Radio Times, but – typically for 2016 – it was rightly superseded by a last-minute tribute to Victoria Wood, who had died. Interestingly, they left Peaky Blinders on the cover in the Midlands, and here it is.

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Which takes us to the best telly. With Telly Addict cancelled by the Guardian in April, and revived by UKTV in June, I have spent a lot of the year watching television professionally. And these have been my personal TV shows of the year. Firstly, in pictures.

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And here they are, in pointless list form.

1. The Crown, Netflix
2. Fleabag, BBC3/BBC Two
3. Versailles, BBC Two
4. Westworld, Sky Atlantic/HBO
5. The Young Pope, Sky Atlantic/HBO
6. Masterchef: The Professionals/Celebrity Masterchef, BBC Two
7. Line of Duty, BBC Two
8. Dickensian, BBC One (cancelled by idiots)
9. Happy Valley, BBC Two
10. The Missing, BBC Two

11. The People Vs. OJ Simpson: American Crime Story, FX/Fox
12. Peaky Blinders, BBC Two
13. Trapped, BBC Four
14. The Great British Bake Off, BBC One
15. Gogglebox/Gogglesprogs, Channel 4
16. The Code, BBC Four/ABC
17. National Treasure, Channel 4
18. First Dates, Channel 4
19. Modern Life is Goodish, Dave
20. The Night Of, Sky Atlantic/HBO

Oh, come on. It’s self-evident from here that these brilliant shows could be in any order:

Game of Thrones, Sky Atlantic/HBO
Thirteen, BBC3/BBC Two
The A Word, BBC Two
The Knick, Sky Atlantic/Cinemax (season two aired at the end of 2015, but early 2016 here)
Deutschland 83, Channel 4
Mr Robot, Universal/Amazon Prime
Planet Earth II, BBC One
Taskmaster, Dave
Grayson Perry: All Man, Channel 4
Billions, Showtime, Sky Atlantic
Ballers, Sky Atlantic/HBO
Hypernormalisation, BBC iPlayer
The Durrells, ITV
Last Week Tonight with John Oliver, Sky Atlantic/HBO
Hillsborough: The Truth, BBC Two (updated after the inquest verdicts)
Brief Encounters, ITV (cancelled by idiots)
Rillington Place, BBC One
Parks & Recreation, Dave (ended in 2015 in the States, but this year, here)
Victoria, ITV
NW, BBC Two
Ripper Street, Amazon Prime/BBC Two

And a special nod to Escape to The Country (BBC One/BBC Two), the show whose 15 series exist forever on a loop, providing harmless dreams to people in towns and cities. Also, Top of the Pops (BBC Four), whose interrupted loop continues apace, racing through 1981 and 1982 this year, and giving constant pleasure to the musically disillusioned.

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So … from music on TV to the best LPs. Like books, a finite field.

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It’s been a slow year for albums. Once again I’ve relied on 6 Music and Later for information and inspiration, with the added input this year of subscriptions to both Mojo and Uncut, whose compilations have been a source of joy, and helped create this Top 12 in no order. No single album put all the others in the shade, but without C Duncan’s A Midnight Sun (and his previous album Architect, which we only cottoned on to this year; likewise Julia Holter’s Have You In My Wilderness), Radiohead’s A Moon Shaped Pool and Black Star by David Bowie, a few car journeys would have been less enjoyable. Nick Cave’s beautiful, personal, dissonant dirge Skeleton Tree was hard to listen to, and hard to stop listening to. The Kills did it again. And Kate Tempest’s Let Them Eat Chaos has proven impossible to listen to on headphones while simultaneously reading, as it demands your full attention. I like that about it. Dickensian was my favourite TV score LP of the year (the show sadly cancelled), and A Tribe Called Quest’s We Got It From Here … comeback the only hip-hop record I’ve listened to from one end to the other.

For self-evident reasons, I spent much of my waking life listening to film scores, old and new, and doing so has brought peace to my soul. If you’re interested in my Top 10 Film Soundtracks of 2016, and my Top 10 Videogame Soundtracks of 2016, click on these Classic FM links.

Now, my other day job: films.

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I’m always torn as to whether or not to put my favourite films in a numbered list. It always seems so arbitrary. My ongoing system is this: I put an asterisk next to every film I see that’s in some way exceptional, and of the 223 films I’ve seen for the first time in 2016 (not all of them films released in 2016), around 80 are starred, although my Top 10 was easy enough to cordon off. The bulk of the films I see as a rule are in English, but the ones that often stand out and stay with me are not. Six out of the Top 10 are English-language (one of them, The Witch, in 17th century English); the others are not. It’s good to see so many unfamiliar names of directors so high up; I don’t believe I had ever typed Grímur Hákonarson, László Nemes or Robert Eggers in previous years, and they made my Top 3 films – and two of those are debuts! Pete Middleton and James Spinney, who co-directed the unique Notes on Blindness, a stunning film, don’t have Wikipedia entries, and neither does their film. I have to say, without Curzon cinemas and, more pertinently, Curzon Home Cinema, this list would be considerably less colourful and varied.

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1. Rams | Grímur Hákonarson (Iceland/Denmark)
2. Son of Saul | László Nemes (Hungary)
3. The Witch | Robert Eggers (US/Canada)
4. Spotlight | Tom McCarthy (US)
5. I, Daniel Blake | Ken Loach (UK/France/Belgium)
6. Rogue One: A Star Wars Story | Gareth Edwards (US)
7. Mustang | Deniz Gamze Ergüven (Turkey)
8. Embrace of the Serpent | Ciro Guerra (Colombia/Venezuela/Argentina)
9. The Clan | Pablo Trapero (Argentina)
10. Notes on Blindness | Pete Middleton, James Spinney (UK)

11. The Childhood of a Leader | Brady Corbet (UK/France)
12. Fire at Sea | Gianfranco Rosi (Italy)
13. Life, Animated | Roger Ross Williams (US)
14. Hail Caesar! | Joel Cohen, Ethan Coen (US)
15. The Survivalist | Stephen Fingleton (UK)
16. Victoria | Sebastian Schipper (Germany)
17. Arrival | Denis Villeneuve (US)
18. I Am Not a Serial Killer | Billy O’Brien (Ireland/UK)
19. Paterson | Jim Jarmusch (US)
20. Chi-Raq | Spike Lee (US)

21. The Revenant | Alejandro Gonzalez Iñárritu (US)
22. The Hateful Eight | Quentin Tarantino (US)
23. I Am Belfast | Mark Cousins (UK)
24. Wiener-Dog | Todd Solondz (US)
25. Cemetery of Splendour | Apichatpong Weerasethakul (Thailand)
26. Sully | Clint Eastwood (US)
27. Julieta | Pedro Almodóvar (Spain)
28. Green Room | Jeremy Saulnier (US)
29. Things to Come | Mia Hansen-Love (France/Germany)
30. Room | Lenny Abrahamson (Ireland/Canada)

Thanks to my continuing tenure at the helm of Saturday Night at the Movies on Classic FM once again I was lucky enough to speak at length to these people about film music this year.

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It has been a terribly busy year, and I did not get out to art exhibitions. Which makes Georgia O’Keeffe at Tate Modern a rare and thrilling treat. In the perfect pairing below, you can see O’Keeffe’s painting of the same Manhattan view captured in a photograph by her then-husband Alfred Stieglitz, one of the many illuminations in the way the exhibition was laid out.

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I went to the theatre twice and loved both productions I saw.

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Hangmen at the Wyndhams in London’s shittering West End by Martin McDonagh (whose film In Bruges I loved), a terrific black comedy about the last days of hanging, with David Morrissey as Britain’s last hangman, now running a boozer. The cast was further ennobled by Craig Parkinson, Andy Nyman, Johnny Flynn and Sally Rogers, and newcomers Bronwyn James and Josef Davies – not to mention the ingenious set. Because I know David and Craig, I met them for a drink afterwards in a theatre hangout and bathed in the cast’s glow. It must be tough doing the same thing at the same level of intensity every night. Mind you, they may not have any lines to learn, but we must give thanks to the dancers from Matthew Bourne’s company who threw themselves hither and thither in the name of bringing that beloved Powell and Pressburger film-about-a-ballet The Red Shoes to Sadlers Wells and turning it back into a ballet-about-a-ballet. This was our Christmas treat. It may not have been Christmassy – in fact, as you may know, it’s a tragedy – but it lit advent up all the same. I love watching dance. It’s not just the sight, it’s the sound of their physical exertion that makes it so special. Watching it on telly just doesn’t capture it. theredshoessadlers-com

In terms of live entertainment, I was privileged to see Billy Bragg and Joe Henry premiere their Shine A Light album at St Pancras Church in London in August. It’s a fine item to own, but seeing and hearing it essayed up close and personal was a rare pleasure. I’ve hosted a number of panels and Q&As, which means I was lucky to meet a whole host of interesting people in the arts: James Buckley, Paul Kaye, Louise Emerick and Ken Collard from the Dave sitcom Zapped; Maxine Peake and the original stars of The Comic Strip Peter Richardson and Nigel Planer for their latest escapade Red Top, also featuring Stephen Mangan and Eleanor Matsura; plus, the entire cast and crew of Peaky Blinders on two occasions: at the press launch and at the BFI (greedy!), an association with an ongoing show that I’ve loved being an ephemeral part of.

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It was a hell of a year. Enough to turn your hair grey. George Michael, Liz Smith and Carrie Fisher finished off the year in the manner in which it began. I was glancing down the UK “trending” topics late on Christmas Day and felt warm inside when I double-checked that all ten were related to telly programmes, on the telly. No capital cities, no celebrity names, no hashtags that began with #PrayFor. I went to sleep before 11pm satisfied that we’d made it through one day at least without the death knell tolling. I woke up on Boxing Day to the news that George Michael had been found dead, alone, at his home, the previous afternoon.

Feast, if you can, on all the amazing art and culture that was produced by the still-alive in 2016. It has to give us hope that perhaps the human race en masse isn’t hellbent on self-destruction, just a toxic few.

I am slightly fearful of pressing the “PUBLISH” key with three days left to go. But nobody ever won Masterchef that way.

 

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Inevitable Postscript: Debbie Reynolds, died a day after her daughter, on December 28, aged 84.

Would he lie to you?

Some late news just in. There was no cast iron reason for this country to defy the United Nations and invade Iraq on 20 March 2003, shoulder to shoulder ie. behind the United States, and alongside Australia and Poland. (In that initial phase, the USA sent 130,000 troops, the UK 28,000, Australia 2,000, and Poland 194.)  The Iraq Inquiry, better known as the Chilcot Report, revealed to the world the following things that I and millions of others personally knew in our bones in May 2003, and which were basically confirmed by subsequent events: that Saddam Hussein did not pose an “urgent threat” to British interests, that flaky intelligence regarding weapons of mass destruction (WMD) was presented with “too much certainty” while its legal justification was “far from satisfactory”, that peaceful alternatives to war had not been fully explored, and that in invading Iraq the UK and the USA had “undermined the authority” of the UN. In short, the whole shit-show ought not to have happened.

Have we who believed Hans Blix and doubted the earnest words of Tony Blair wasted the last 14 years of our lives waiting to find out what we suspected all along? If so, we should be grateful that we had lives to waste; not everybody sucked into the conflict was so lucky. The families of the victims at Hillsborough (many of whom will have also opposed the war) will know this feeling: a combination of relief and fury after so many years being officially dismissed and discounted. No matter what the Dorian Grey painting of Tony Blair says, during those 14 years the world has unarguably become ever more dangerous and less secure, and thousands upon thousands of lives have been lost in the wars waged in the name of “stabilising” a region we – I hate to use that word, but it’s worth rubbing it in – we destabilised. The invasion may not have happened “in our name”, but I remain a citizen of the country that did it. An increasingly ashamed citizen. Many of today’s monsters were forged in the aftermath of the invasion, which, like a post-Brexit economy, nobody had properly planned for. So, rather than go over the coals one more time, or the Chilcot Report in mind-numbing detail, can we just consider the lies?

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Historians often cite Watergate as a watershed moment when the public “lost faith” in its elected politicians. Certainly, the grotesque televised image of Richard Nixon declaiming in 1973, “I am not a crook” provided a pivot for this apparent awakening (a moment echoed by Bill Clinton’s similarly perjurious public address in 1998: “I did not have sexual relations with that woman”). But not only was Nixon not the first dishonest politician, he was not the first dishonest president. They’re all at it. Because power corrupts, absolute power corrupts absolutely, and, to quote Everything But The Girl, little Hitlers grow up into big Hitlers. The business of running a country, whether it’s as small as Iceland, or as vast as Russia, involves compromise. I guess it has to, like any relationship. In government or junta, commercial and civic interests must be served at the same time. An electorate, or a non-electorate, must be kept onside, for fear of deselection, or coup.

Sometimes, decisions made in the secret corridors of power have life or death consequences. Most of us, let’s be honest, couldn’t handle that. Indeed, the old truism that the very worst kind of people to be politicians are the people who want to be politicians resounds still. Running a country is an insane fantasy that most of us rehearse over breakfast (“If I was in charge … I’d making voting compulsory/ban mobiles in schools/put registration plates on bicycles/remove charity status from public schools/give automatic custodial sentences to internet trolls etc.”). We are currently going through a leadership election that will put someone else in charge of our country, at least one of whom will have been tied to a Leave campaign based on lies or assertions with no basis in fact. Whether she – and it is likely to be a she – is up to the job is only something we can discover by letting her do it. We came dangerously close to having Boris Johnson imposed upon us as our leader, thanks to the boneless leadership of David Cameron. The former is a man priapic on adulation who thought leading a country was his birthright; the latter seemed to treat the job as a sort of wheeze and couldn’t wait to put it behind him. Both are dangerous. Both went to the same schools. It doesn’t matter who you vote for, someone who was in the Bullingdon Club always gets in, right?

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There is talk of a “disconnect” between people and politics. It’s why the inarticulate bully Donald Trump is presumptive Republican nominee when the commentariat dismissed him as a joke. It’s why the mild-mannered Jeremy Corbyn won a mandate from members of the Labour party in the vacuum after Ed Milliband and has since struggled to keep the Teflon-hearted Blarites within the PLP onside. And it’s why the Leave campaign’s parish magazines the Express and Mail were so effective in the peddling of myths. The balance of power now rests in the limbo between what politicians think they know about what ordinary voters know, and what ordinary voters know they know. It’s why we are one piece of paperwork away from leaving the EU after 43 years of growth and that racism has reared its ugly head again in a way not seen since the 70s – a decade which, by the way, wasn’t as good as the music, films or sitcoms made in it. Whether people are racists or simply voters struggling to replace the old certainties like jobs, security and community that have been taken away by successive administrations in hock to the free market and the City, they clearly don’t feel represented. Nor, by the way, do I. (My politics pretty much align with Corbyn’s, a man seemingly too Labour to be allowed to lead the Labour party.)

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“Protest vote” is a catch-all phrase, simultaneously stirring and active, and negative and self-isolating. It can mean something passionate and personal: voting for an independent candidate, let’s say, in a local election, or voting Green, as I have done, even though there appears statistically to be no way the candidate can get in. But voting Leave in a zero-sum referendum to show the politicians that you no longer have faith in them is a protest only in theory; in actual fact, it is a vote for uncertainty. A malignant symptom of the current democratic malaise, it led the 51.9%  to opt to leave the EU because they had genuine, concrete reasons for wanting to “take back control” from Europe, the promise they were made by politicians who could barely agree between themselves whether they were pro-Europe or not. I feel sad that many people, with good reason, believed that to “take back control” meant some kind of meaningful independence. The crushing irony is that in “taking back control” from those fabled Brussels bureaucrats, Leave voters “gave control” to the right wing of the Tory party, a party that despises the jobless and the poor, and is dismantling the very state that might look after them.

We’re so jaded we expect lies to be told in election campaigns. And yet, we swallow the lies. That the Tories care about “hardworking families”? That £350m of “our cash” (Johnson, Gove and the rest were clever to make it sound like bureaucrats were picking our pockets) would be given to the NHS? By a party that seeks to privatise the NHS? More lies. That Saddam Hussein could get a chemical weapon to the UK in 45 minutes?

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Here’s the irony. Tony Blair, who was unfortunate to be given a surname that contains the letters L, I, A and R, seems to think he has been cleared by Chilcot of actually, literally telling a lie to us, while Alistair Campbell is smug about being cleared of “sexing up” the intelligence dossier, but in buttering up the electorate, and Parliament, for war, they implicitly lied from the moment Blair told Bush he was “with him, whatever” in the 28 July, 2002 memo. Thereafter, war was not an option, it was a foregone conclusion, and any speech or comment that Blair made after that date which did not reveal the deal he’d made is in my eyes rendered a lie.

Here’s the killing joke: I think he’s telling the truth when he says that, given the choice, he would invade Iraq all over again.

Honestly.

 

 

Make America Hate Again

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It almost feels like shooting a racist in a barrel, taking aim at Donald Trump, the presumptive Republican candidate for president 2016. He’s a boorish, entitled, non-thinking, vain, preening, loud-mouthed, bullying, hectoring, ill-informed, historically and politically illiterate, ungracious, repetitive, spiritually ugly, self-serving, self-centred, self-aggrandising, self-loving, self-mythologising, showboating, grandstanding, oafish, blinkered, simplistic, dishonest, misogynistic, sexist, homophobic, disablist, xenophobic, misanthropic, reactionary, vicious, voluminous, hate-filled, hate-spewing, inciteful, insightless, uncaring, myopic, deluded, lowest-common-denominator, divisive, simplistic, dangerous, inflammatory, rude, galling, pumped-up, far-right, destructive, deluded, deluding, uncouth, untrustworthy, rogue bad-haired Onanist who used to be on TV, and is now never off the TV. He also used to be a joke. Not any more. He’s now a threat. To – potentially – all of us. He is, after all, a man whose foreign policy is to “bomb the shit out of ISIS”, thinks that the violence he explicitly incites from his bully pulpit is “nothing to do with him” and who actually inferred he had a large penis in a televised debate. And he looks like Donald Trump.

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As you may know, I’m a keen follower of US politics, especially every four years, and if I had a vote, I’d lean to the Democrats. No surprise there. In my bones I know I’d be for Bernie Sanders, the Jeremy Corbyn of the American left. And yet, with Trump in the seemingly unstoppable ascendancy, I think that Hillary Clinton may be commonsense’s only hope. (Although one CNN poll found that Sanders would stand a better chance of beating Trump than Clinton.) It’s literally not up to me. I can only push my nose up against the glass and watch, helpless, as a polarised electorate, alienated from dynastic DC party politics at both ends, decide the fate of a divided nation after, let’s face it, eight pretty disappointing years of emollient talk and executive cool but too little great change from Obama, kneecapped as a Democrat President so often is by a Republican Congress. You win, you lose.

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Enter the reality TV star, so rich (“part of the beauty of me is that I’m very rich”) he doesn’t need private donors, already a caricature of himself and thus beyond satire, and apparently on the side of the ordinary working- and middle-class voters who’ve lost their jobs due to the globalised free market waived in by libertarian, deregulating Republican administrations (and allowed to flourish by liberal, not-nearly-regulating-enough Democratic ones). He makes a powerful case to the disenfranchised of those United States: he’s going to stop corporations from upping sticks to China and Mexico if and when he’s President, before building a wall around the place, to stop Muslims coming in, and business going out. It’s a binary way of looking at the world, like Trump is a giant baby mesmerised by the pretty shapes a revolving nightlight projects on the nursery wall, and it’s more than gaining traction with the economically vulnerable. It’s also turning white America against the America of colour (as if the rednecks need any encouragement).

Divide and rule is nothing new. Donald Trump seems so ill-read and ill-versed in history and geopolitics, it’s a terrifying thought that he could ever hold any office outside of an office he already owns. (He’s the kind of American who believes that nothing can’t be bought, including democratic power.) It used to be tee-hee-hee amusing that daft old downhome George W Bush couldn’t name any other world leaders and basically wanted to play golf while he settled some Oedipal family score by being President, but Trump wouldn’t even feel the need to name any other world leaders and would surely wear his ignorance as a badge of honour (he’s “very rich”, you see, that’s the “beauty” of him, so he doesn’t need to memorise names of foreigners because he has no donors to dance for). It would earn him approval points among his desired, non-passport-holding demographic if he started a call-and-response that went: “Who’s stupid and PROUD of it?” “WE are!”

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I’ll say it again, I hardly feel as if I am going out on a limb expressing bemusement, bewilderment and fear at the thought of Trump wielding any kind of jurisdiction outside of a reality TV show, but it’s an unedifying sight either way watching his endless victory speeches and seeing the hatred and violence in the eyes of his supporters. (Some of them have violence in their fists and elbows, too; give these people enough rope and strange fruit will be swinging from a tree.) It seems quaint now that we worried about Nigel Farage in this country – who, on paper, rode the same bandwagon here, appealing to the more purple-faced on the right – as he now feels a bit like a single-issue figure of fun again. One hopes in one’s heart that Trump will fail in his bid to do something that he only really wants to do to see if he can do it. In any event, he would quickly tire of the minutiae of the job by about, ooh, half-ten the morning after he enters the White House. Bored now, what’s next?

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America can be a scary country, with its guns, and its flag, and its belief in God, but for every rally it holds in the name of reductive ethnic stereotyping and baseball-cap fascism, a bunch of protesters will challenge that poisonously antithetical orthodoxy, even risking a remorseless thump in the head for enacting their unalienable right to do so. I’ve just watched the third part of CNN’s fascinating newsreel-based documentary series The Seventies on Sky Arts, headed Peace With Honour, which covered the last, glory-free five years of the Vietnam war, and it made you proud to see so many ordinary Americans, from students to veterans, protesting Nixon’s bombing of Cambodia and other outrages, literally risking life and limb in the process. Let us think of the United States as a nation of questioning, constitutional dissent. What Trump is whipping up is not dissent, it is fear. The only questions he asks are ones to which he has a pre-prepared answer. “Who’s gonna pay for the wall?”

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Simon Heffer has written a good piece from on the ground in the New Statesman about the Trump effect, and he rightly points the finger at Obama for the shortfall between his “elevated rhetoric” and the “lower reality”. He also noted that America is “an unhappy nation.” The cards are stacked in favour of a no-nonsense (or so the disillusioned think) demagogue who promises to fix the problem. He also reminds us that Trump “is not a politician … [he] has never served in the military or held political office.” He’s the sort of golf-club bore most of us would edge away from in a bar, but we’re not everybody in America. Desperate times – and for millions they are fucking desperate – require desperate candidates.

A great leap forward

Squeeze are a band who were formed in 1974, when I was nine and the eloquent East Midlands firebrand Grace Petrie was around ten years away from being born. They were invited onto BBC One’s Andrew Marr Show last Sunday to perform their splendid song Cradle To The Grave (the theme tune for the splendid BBC comedy of the same name), and a few days before, singer and co-songwriter Glenn Tibrook found out that they were going to be on the same edition as the Prime Minister. But not until ten minutes before the live performance did he decide he couldn’t live with himself if he didn’t slip in a new verse. So, without the rest of the band knowing, he did. It was sung, live, to a visible audience of two: Andrew Marr and David Cameron (who’d been on to smarm about how his government’s dismantling of council housing wasn’t that at all, even though it is).

I grew up in council houses
Part of what made Britain great
There are some here who are hell bent
On the destruction of the welfare state

As an act of protest it was calm, collected and heartfelt. You can read Tilbrook’s full account of why he did it here. Even if Cameron wasn’t paying attention, we were. (It was Danny Baker, old pal and co-writer of the series that bears the song’s name, who tweeted about it, and interest among the righteous snowballed from there.) I think the fact that it went a bit viral is due to a broader thirst for protest in the arts. I have loved Squeeze since Cool For Cats, and although their best known songs are beautifully observed social documentary, rather than out and out socialist anthems, a beating heart is always audible, and anyone who had a heart would surely be on the side of people who can’t afford to buy their council houses rather than the side of the developers and landlords who will cash in on their blameless misery.

My blood was stirred by Tilbrook’s stand. It must have been even more exciting to catch it as it went out. What a thrill such subversion provides. If he’d sworn, or thrown down the mic, or stuck two fingers up at Cameron, it would have been less of a moment. To instead attack him with poetry, which is what it is, is poetic. This government will cut the subsidised arts down to the bone if they have their way, as they believe, in the space where their hearts might beat, that if the arts can’t pay for themselves in a free market, they have no place in the public arena.

I tweeted in the heat of the moment about Squeeze, but was defeated in my constant aim of clarity by the 140-character limit, and it didn’t quite come across, which is why I’m expanding upon the fire in my belly here, and will keep typing until I’ve finished! Anyway, out of a self of righteous dismay with the generally apolitical malaise of today’s mainstream pop and rock music, this is what I wrote:

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I called Squeeze “old” because, well, they are. The band itself is 42. Glenn Tilbrook and Chris Difford are 58 and 61. They have been around. And the truism goes: you get more right wing as you get older. I have personally found this not to be the case, but you do see people’s priorities change when they have children and find themselves inevitably sucked into the system, with less time for the luxury of dissent. (Do you know that quote by literary critic Cyril Connolly? “There is no more sombre enemy of good art than the pram in the hall.”)

I find myself getting angrier and angrier about injustice, cruelty, materialism, privatisation and lack of compassion. Some days I wish I’d calm down. I may not have been on a march since 2003, but this is chiefly because that particular protest’s failure to change the course of history knocked the protesting stuffing out of me. (I even tried writing letters to my MP and to the PM but they had no effect either, and Iraq was duly invaded, as planned long before anybody tried to stop the war.)

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So the sight of a band who’ve been around since the mid-70s seizing the moment on a live political discussion programme and having their say warmed my heart. My tweet was not aimed at “young bands” who are politicised. I’m well aware that a pocket of young artists are as pissed off as I am. I may not know all their names, or be au fait with their politically charged music (as I’ve long since stopped going to gigs on a regular basis), but as Billy Bragg’s official biographer I keep abreast of political music via him. We collaborated on a new chapter to my book only two years ago, and in writing about Billy’s endorsement of Jake Bugg, Grace Petrie and others, I felt a connection with them. Having first heard Grace Petrie through Josie Long when we did a 6 Music radio show together, it gave me enormous pleasure to type “Petrie, Grace” into the updated index of Still Suitable For Miners. (I still wonder to this day why Josie and I were not invited back. We were told that the station had loved what we’d done, but the call never came.)

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Anyway, true to form, my Tweet was read by some as a sweeping generalisation against all “young bands”. It was nothing of the sort. But Twitter can be a cruel interpreter of raw feeling. To me, there is no difference between what Squeeze did and what Petrie, Seán McGowan and Chris TT do. I remembered this dispiriting moment from a 2011 article by Dorian Lynskey in the Guardian. We join Grace Petrie onstage at the University of London:

“You guys at UCL,” she says. “You’re pretty political, right?” A handful of students raise a feeble cheer, and Petrie’s face falls. “That’s not quite what I expected.”

She wins them over in the end, but the message is: it ain’t easy being political. One of her first songs was Goodbye To Welfare, so it’s easy to see the link with Squeeze. My dismay was clearly never with her, or the others who fight the good fight. It was with the general state of pop and rock music made by the young and aimed at the young, but to my ears bereft of struggle or friction. I actually sometimes think that the mobile phone age has bred an intractable complacency. You can’t blame a generation for succumbing to the touch-screen intimacy of the smartphone and taking their eye off the bigger picture – after all, nobody even looks forward when they’re walking along now. Their face is in that little glowing oblong, their ears plugged, their attention all used up. This victory for the system makes political artists all the more rare, and all the more vital.

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Sam Duckworth (formerly Get Cape, Wear Cape, Fly), who raises a “Stop Bombing Syria” placard in his Twitter avatar, wrote to me of “the death of the counter culture in the under-30s.” It sort of breaks my heart. In a better world, protest artists would be on television. Maybe not on Andrew Marr, but somewhere on the BBC, with its public service remit (although I guess the BBC has bigger fish to fry, what with the Tories bearing down hard at charter-renewal time). When I was a teenager, we had Something Else on BBC Two, a “youth” magazine show that introduced me to so many things, not just Joy Division live (something it’s now famous for doing), but also political poets like Linton Kwesi Johnson, John Cooper Clarke and Craig Charles. I may be remembering it – and the subsequent Oxford Road Show – through a rose tint, but I was a “youth” and somebody was speaking to me. Also, there was nothing else on and no mobiles, so I went out on my bike and listened to records with my friends, and talked.

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Nothing more boring than a man in his fifties hymning his childhood, but I hold the youth of today to a high standard. I don’t expect Adele (whose music I like) to bring down the government. But I don’t hear any politics in the dreary music of Ellie Goulding or Florence Welch either (and they seemed to come up via 6 Music with a certain degree of credibility), or in any of the acoustic singer-songwriters like Ed Sheeran, or James Bay, or whatever the other ones are called. They’re the worst; they come on like troubadours, one man and a guitar, and they say next to nothing.

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People on Twitter started listing bands and artists who are political for me, and the fact that I’d not heard of many of them tells you a lot. Enter Shikari and the King Blues I’m familiar with, but (and I’ll try and put links in to their websites here) less so Tim OT, Against Me!, Gecko, The Lagan, Josiah Mortimer, Dru Blues, Brigitte Aphrodite, Chas Palmer-Williams, Ducking Punches, Perkie, Colour Me Wednesday, Onsind, Will Varley, Itch (from the King Blues), Grant Sharkey, Beans On Toast (thanks to Seán McGowan for most of those, but others chipped in).

It’s an underground movement, as it has to be. But the very technology that seems to be turning the populace into zombies, unable to communicate verbally or emotionally, also empowers unknown or unsigned artists to get their music out there, often for free, via Soundcloud or Bandcamp. Squeeze are a well-established band from another era of contracts and distribution and copyright and Walkerprints, and for them to make their stand, on live television, in the daytime, on the BBC, puts them in the same boat at Grace Petrie and the others mentioned here.

That’s what I meant.

I’ll end with a self-referential couplet from a song by Billy Bragg written and recorded in 1987 for the Workers’ Playtime LP:

Mixing Pop and Politics, he asks me what the use is
I offer him embarrassment and my usual excuses …

Now form a band!*

 

* Sorry, another ancient reference.

Thinking allowed

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It was announced that David Bowie had died, aged 69, at around 6.45am. I found out, as is the usual way of things now, via social media. I logged on to Twitter at around 7.15 and the first tweet I saw was by Gavin Hogg, which had been retweeted by Nige Tassell. I didn’t, at first, get it.

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So I scrolled down and confirmed it. This was devastating news, not least in light of the fact that we bought his new album yesterday, and purchased the recent Mojo with him on the cover, to have a good read about the making of said album (and of Scary Monsters in a separate feature). Certainly, he looked a little wizened in the new photos, and especially in the video for the single, but nobody outside of his family and close friends can have known that he’d had cancer for 18 months. Not as shocking as someone famous you admire dying in a car crash, for instance, but shocking nonetheless. We shall hear no more new David Bowie music in our lives.

Anyway, I will pay tribute to my all-time favourite musician elsewhere. I blog herewith about David Cameron, who had this to say.

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What David Cameron, or David Cameron’s office, says via his Twitter account impacts on way more people than anything I will ever say. He has 1,327,911 followers. He is the Prime Minister of a country. His party were voted in at the last election. Of course he has 1.3m followers. Many of these followers will take everything he or his office types at face value. And indeed, I am not saying he didn’t “grow up listening to David Bowie.” David Bowie is always on the radio. Unless you only listened to Radio 4 or Radio 3, or don’t listen to the radio at all, you’re going to hear David Bowie’s hits. I’m not even saying that David Cameron doesn’t think he is a “pop genius” or a “master of reinvention.” But when I saw the tweet (I follow David Cameron as you must know your enemy), I felt indignant.

I read the comments under David Cameron’s tweet, posted by his office within around ten minutes of the official announcement by David Bowie’s office, and this was the gist: “Fuck off … Fuck off, you twat … You prick … Oh do fuck off … Fuck off, dish face … Bowie was the antithesis of everything you stand for … Piss off … Twat.” Rather than join this jolly mob of abuse the Prime Minister will never read, which would be water off a prick’s back in any event, I simply retweeted his tribute with a footnote of my own.

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Note, I used the epithet “Sir,” to distance myself from any foul-mouthed abuse. This was intended to back-reference what Johnny Marr said when David Cameron voiced his appreciation of the Smiths. He “forbade” him from liking the band, as I’m sure you remember.

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Anyhow, my “You are not allowed to comment” comment was passed around by those who agreed with the sentiment. I felt strongly and passionately about the insidious and hollow way our Prime Minister uses social media to attach himself to what he thinks are issues that will endear him to the electorate. Jumping in with a personal tribute to David Bowie, on the great man’s untimely death, felt particularly ghoulish to me. Part of my problem is the motivation behind it. I have plenty of evidence that David Cameron’s motives are not always sincere or honest. He was on Andrew Marr only this weekend explaining why selling council houses would be good for people living in poverty and at no point actually told the truth, which is that he despises anyone without the get-up-and-go to be rich and if they can’t afford to buy their council house, then all they’re doing is preventing less lazy people from buying it.

I see David Cameron as a hateful figure. A dimwit without the empathy to understand what it’s like to grow up without a helping hand. He lacks the intelligence to see how much ire he stirs up when, say, he turns up in his wellies to be interviewed about the floods in Cumbria when it’s his government that has cut flood defence spending, and engineers his photocall so that he doesn’t have to speak to any ordinary people who have been flooded out.

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That’s the background for my tweet, something most people who care to follow me understood. But a few took violently against it. I took abuse from individuals who called me, variously, a “fascist”, a “totalitarian”, and, in one illiterate case, a “fuck whit”. Before blocking them, I checked to see if they were Tories, but it was hard to tell. One compared me to Donald Trump in my haste to disallow one elected man from commenting on the cruel passing of my favourite artist from cancer. I’m pretty sure you can’t be a fascist if you are against one single person? And it would be a pretty useless totalitarian state that oppressed one citizen.

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My dislike – and disenfranchisement – of David Cameron is not based on his race, or ethnicity, or his political views, or his detachment from the country he is chopping up and selling off; it is merely based on his being David Cameron, and a grudge I have been building up for five years. One rather more reasonable person on Twitter claimed to also “dislike his politics” but remained affronted that I had disallowed the PM from commenting on David Bowie (as if perhaps I had some kind of administrative or legislative power to do so). Mind you, “disliking his politics” does not quite go far enough to describe my feelings about David Cameron.

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So, RIP David Bowie. And do shut up, David Cameron. Someone else sarcastically asked me to provide a list of those who can and cannot comment. Easy: everybody else can; David Cameron can’t. Hope that clears it up.