The fact that I first came across Manu Chao exactly sixteen years ago, at which point I’d already been listening to Momus for around the same amount of time, gives me pause to question my idea of myself as basically a young person. Momus was an ever-present in the UK music press of the late 80s- early 90s*, and as for Manu, it was (appropriately enough for someone of my lifestyle and worldview) the Guardian that alerted me to his existence, in summer 2001. The article focussed on how surprisingly little-known he was in the English-speaking world, given what a superstar his album Clandestino had made him elsewhere, and also mentioned that his follow-up was out later that week. Just as it happened, he was playing a free outside gig in Lisbon (where I lived at the time) the very same weekend. I bought and immediately loved both CDs, and two days later found myself in the midst of billowing clouds of weedsmoke bouncing up and down next to the Torre de Belém for three hours (while ignoring the disparaging comments from my friend Andrew about ‘fucking crusties’). Manu was in turn bouncing around on the stage 200 metres away wearing an Algerian football shirt and he and his band were kicking footballs into the crowd with seemingly boundless euphoria and energy. I was enamoured.
Although in the ensuing years Momus has released sixteen albums of consistently excellent original material and Manu Chao has put out just two**, the two artists have much more in common than being born just one year apart and possessing a shared penchant for unconventionally colourful and extremely baggy trousers. In both cases they have a level of creative energy that seems to increase exponentially with the years. Theirs is making as a mode of being, reminding me of the line from Fernando Pessoa – “I get distracted and start doing something”. It’s also, in both cases, entirely impossible to predict what they might do next. This year Manu has been posting, from who knows where, new songs (hooray!) which are a collaboration under the name of Ti.Po.Ta) with a Greek actress/singer called Klelia Renesi. Meanwhile Momus has been traversing Europe by train switching between being David Bowie and various versions of himself.
On the sleeve of ‘Radiolina’ (2007) there was a reference to ‘permanent summer’. Manu seems to be always on the move, from Barcelona to Bayonne to Bogotá. He says of himself that ‘my one luxury is travel’. Both he and Momus migrate instinctively towards similar scenes and people. While Momus is more likely to pop up at art fairs and residences, Manu is an organic superstar, an incessantly mobile global troubador. The lifestyles of both artists are thus a rebuke to Theresa May’s tiny-minded denunciation of ‘citizens of nowhere’. Their lifestyles and work are a celebration of mobility and migration. Wherever you happen to be on the planet there is an outside chance than one or the other will at some point soon be entertaining people at the end of your street***. Youtube abounds in videos of Manu playing in cafes, while walking down the street and at an actual children’s party. Momus’ gigs consist of him and his laptop, so they share a spirit of ‘let’s do the the gig right here!’. While Momus’ gigs are spellbindingly intense and entertaining, Manu’s concerts are characterised by exuberance. If you’re at all into bouncing round your living room, whether alone, with friends, or with a newborn baby in our arms, his live albums are a must.
The border-flouting approach of both Manu and Momus is reflected in their linguistic eclecticism. Manu has sung in Italian, Greek, Portuguese and Arabic as well as English, French and Spanish; often he just mixes it all up in what what Diego Marani calls Europanto, often based around Manu’s own idiosycratic international take on English rock n’roll grammar. Sometimes his lyrics sound like stoned nonsense. His core audience is, after all, weed-addled Spanish perroflautas, punkabbestie italiane and French whatever-the-French-word-for-crusties-is. What they have in common, lyrically just as much as musically, is inventiveness. As it happens, in Manu’s French lyrics have a more literary bent. Momus is consistently erudite but, with his history of having been big-in-Japan, as a mastery of International English and a strong appreciation of the absurdity and ambiguity of the pop idiom. He also the originator of using google to write songs in other languages and (akin to Michel Houellebecq) basing lyrics on Wikipedia entries. In this recording he talks about his approach to lyric-writing. He talks of using a Burroughsian cut-up approach; not too dissimilarly, Manu’s lyrics often appear to be the result of a collage.
While Manu has lived in Brazil and currently (I think) resides in Barcelona, Europe’s most Latin American city. Momus, after floating between London, Paris, New York and Berlin, gravitates towards Asia and is now based in Osaka, ‘Japan’s most working class city’. Given that Momus has never visited Latin America, it’s tempting to think of he and Manu as covering different parts of the planet. That may carry colonialist implications and it is worth noting that as white European men their access to mobility is enhanced, but few make such use of it, and neither is unaware of the contradictions of neoliberal globalisation. As noted, they share an interest in and are advocates of free movement. as a corrective to nationalist and imperialist worldviews. Their magpie approaches to sampling is not mere cultural appropriation as at least one artist of their generation has been accused of. Both do so with irreverence, treating culture as a living, fluid thing rather than a collection of solid museum artifacts. Theirs is not the globalism of Starbucks with its slogan ‘culture is just a flavour’. They have both produced snarling critiques of neoliberalism, the notion of human society as a conveyor belt which stamps price tags on everything it doesn’t simply discard. On of Manu’s most recent tracks is called Manu ‘No solo en China hay futuro’ – it’s not only in China that there’s a future. Their refutation of the conveyor belt world view lies in the fact that they are interested in what has been or stands to be discarded.
Both Momus and Manu Chao tracks are instantly recognisable as such despite their catholic approach to borrowing sounds. Momus has invented some genres and pastiched others and ended with something which is absolutely distinctive. Manu’s music combines head-down boogie with ska, funk, punk and reggae. Both show a laudable disregard for copyright. Another feature they share is artistic promiscuity. Both have a constant eye for collaborations. Momus has made albums with Anne Laplatine and as part of Joemus and MomusMcclymont. Manu has shared his creativity with Amadou et Mariam and (more recently) Calypso Rose. They both make exemplary use of the internet to try out and diffuse new ideas****. There’s something similar in form and mood about Momus’ hearspools and Manu’s ongoing work with Radio La Colifata, in which he riffs and quotes from his own music. Both artists also continuously remake old songs for new performances.
There’s also a sense of generosity, not just promoting other artists but also causes. Manu very regularly lends his support to campaigns against GM farming and fights against mining extraction. Momus is definitely not a protest singer (or, it’s important to point out, very much not a crusty) but can I think be regard as an intellectual engagé. Both produced relatively impromptu songs in relation to referendums in Scotland and Greece. Late last year Momus did an album lamenting Brexit, while just a few weeks ago Manu (who was born in Paris) posted a short clip against Le Pen.
Both artists have taught me a huge amount. Many said of David Bowie that he was a sort of proto-google, in that through him fans discovered other artists, writers, etc. Momus’ pedagogical role is now semi-official, in that he has, after a fashion, opened his own university. As for Manu Chao, it was mostly él que me ensenó el casteyano. Gracias, Manu. Cheers, Nick.
*Although his music wasn’t always appreciated by the morons there employed.
**Here is five hours of unreleased material from Manu Chao; you can listen to and/or watch many of Momus’ last few albums here.
***Apart from Mexico, where Momus has never been and from where Manu Chao is apparently banned.
****To get a good sense of what Momus is drawing upon nowadays this is an excellent listen.
Momus is a polymath: a musician, novelist, blogger, artist and occasional journalist and curator. Unusually for someone who bestrides different fields, whatever he turns his hand inevitably turns out to be absolutely unique and compelling.
I’ve been a fan since the late 1980s, back when he styled himself ‘the third Pet Shop Boy‘. Since then he’s released over 30 albums (all of them unerringly excellent), six novels (every of one of them a cracking and often uproarious read), and several thousand consistently fascinating posts on his now-defunct but still celebrated blog Click Opera.
Most recently he’s opened his own online ‘open university‘ and continues to produce occasional soundscapes called ‘hearspools’, which frankly defy description, but any one of which could change your way of seeing and thinking about the world. Although he lives in Japan, he’s also doing a series of appearances around Europe and I caught up with him in the really quite magical setting of Swiss Institute in Rome, where he was doing a talk on sublimation in his lyrics and a concert, during which he played songs related in some way to Rome and its history.
Read the interview in full at katoikos.eu.
I’ve been an IELTS examiner for over eight years. That’s a perfect English sentence, but it’s not in itself very interesting. Far more impressive is the fact that Nick Currie, also known as Momus, has made around 30 albums, written six novels, performed as an Unreliable Guide at various art festivals and biennali, produced reams of art criticism and a consistently compelling blog, and even written a food column for the Japan Times. All that makes him a fascinating subject for an interview, and I had the chance to do just that recently in the jaw-droppingly beautiful setting of the Istituto Svizzero in Rome (interview itself coming soon). Knowing that Nick’s father was an English teacher who brought up his family in Canada, Italy and Greece, I thought it would be fun to take advantage of the encounter to conduct another kind of interview, viz specifically an IELTS one, not because he’s planning to apply for an Australian visa or hoping to embark on a Business Studies course at Aston University*, but because I’m very interested in the question of how articulacy and what it’s probably not okay these days to call well-spokenness relates to language ability, education, personality and intelligence**. Nick happens to be a (problematic term coming up) ‘native speaker’ who is extremely articulate, engaging and intelligent, so I thought he might make a useful and entertaining model for what, if such a thing exists, IELTS 10, 11 or beyond might sound like. Apologies for the audio, which only gets 5.5 as we were up on the roof and it was a bit windy. This is the first of a series of IELTS interviews with semi-famous people; in coming weeks, I’ll be speaking to Lawrence from Denim, Justine from Elastica and the drummer from Ride about why old buildings should be preserved, the usefulness of mobile phones and how uniquely annoying it is to hear 16 candidates in a row all use the phrase ‘global village’ at least five times each.
*A bit like Russell Brand.
**I’m aware that this sentence could have been phrased more elegantly.
When it comes to early-90s Dublin thievery and skullduggery, Martin “The General” Cahill had nothing on me. Long before filesharing became the rage, I used to steal music. The radio station I worked at regularly gave away prizes, mostly in the form of Daniel O’Donnell and (get this) sub-Daniel O’Donnell CDs. Often the winners would come into town and pop into the station to collect their prize, and would be disappointed to be told (by me) that the disc in question couldn’t be found and that I’d personally dispatch a replacement directly to their front porch. What I was scrupulously careful not to tell them was that I’d stolen the CD, taken it to one of Dublin’s then-many record emporiums, made up a short entertaining anecdote about a generous but dotty elderly relative with a misplaced understanding of modern musical trends, and swapped it for some hiphop.
This went on for some time during which I was able to amass quite a collection of the very latest releases from Redman, Mobb Deep, various Wu-Tang offshoots, and etc. To be fair, it was all just a means of feeding my family, although to be more fair my beloved siblings all went by names such as ‘Only Built 4 Cuban Linx’, ‘Midnight Marauders’ and ‘Whut: Thee Album’. It was kind of a victimless crime in that a small record company would get to believe that their music was slightly more in demand than it actually was and some elderly Dubliner would acquire a nice anecdote about how they went all the way into town to pick up that CD they’d won and although it turned out they’d have to wait to get their hands on the prize they’d had a pleasant chat with a very well-spoken and charming Englishman with admittedly slightly shifty eyes and (unbeknownst to them) very sticky fingers.
Then there was the keg-of-Caffreys episode. Ah yes. Ahem. The barrel of beer in question was the (as it were) prize prize of the year, as it was to be awarded to anyone who could (correctly) guess the winners of that year’s Caffrey’s Hot Press Irish Music Awards. There were numerous entries but they all shared two simple defects: 1) They were all sent and received before the winners had been announced and 2) The person who’d guessed (the ‘entrant’) didn’t work in the radio station which was hosting the competition. The radio station receptionist suffered from neither of these disadvantages and the fact that he seemed to be slightly eye-squiffy and wobbly on his feet every morning for the following month was not recognised as in any way connected to the seemingly above-board award of the (massive) keg of beer to a (unbeknownst to them) pseudonymous version of his girlfriend.
Two things brought my budding criminal career to a close. Inevitably, after a certain point, my confidence, my hubris if you will, brought me down. One evening I happened to spot my boss walking through Temple Bar, which was a commonplace occurence as our office was just around the corner. The awkward thing was that at the very moment he waved hello I was sitting behind a pristine restaurant window with a fork halfway to my lips while a colleague-in-dishonesty gulped down the contents of one of many wine glasses. The fork and wine glass in question were both the property of a recently-opened dining establishment which had just the week before (via our radio outlet) offered vouchers for a slap-up meal for two to the first listener who could name the singer of Aslan (Christy Dignam). The vouchers in question had sadly not been to be found on the premises when the person who’d rightfully won them (the ‘winner’) had come to pick them up a couple of days previously, and I had apologised profusely and promised to get back in touch with the restaurant to replace them. It was only a short while later that my boss (Paul) called me into his office and in grave tones explained that we needed to do something about all these prizes going missing. His solution was to put me (the thief) (he didn’t say ‘the thief’) in charge of an investigative task-force to track down the culprit. Shortly afterwards, gangland boss Martin “The General” Cahill was shot dead near his home in Rathmines. In the words of Coolio, he was on his way to gangster’s paradise at last, and it was time to put a stop to my own life of crime just in case it should come to a similarly sanguinary end.
If you should ever visit the island of Inhaca in the Bay of Mozambique and make your way on foot in the 35° heat along the mangrove-lined coast to the south of the island to visit an abandoned lighthouse, and should you along the way get talking to a charming young local kid called César who appoints himself as your guide for the rest of the trek and tells you among other things about his life that he’s a particularly big admirer of the Canadian rock singer Bryan Adams, don’t tell him this story:
In the mid-1990s (a newspaper once reported) Bryan Adams was living in London. Next to his (obviously very expensive) house or apartment there was a pub which played loud music late into the night. Bryan Adams was annoyed by the noise so he bought the pub and closed it down.
If you make the mistake of telling César that story, something very like this will happen:
César: (laughs for ten minutes)
Ele… (He…) (laughs for another ten minutes)
Ele….comprou o bar… (He…bought the pub…)
Richard: Sim (Yes)
César: …e não gostou…da música….(and he didn’t like the music)
Richard: Não (No)
César: (Laughs for another four minutes)
Richard: Este farol, está perto? (Are we getting close to the lighthouse yet?)
César (still laughing): Foi em Londres? (Was this in London?)
Richard: Sim (Yes)
César (still laughing): Que zona de Londres? (Which part of London?)
Richard: Acho que foi em Chelsea. (I think it was in Chelsea)
César: Como e que se chamava o bar? (What was the bar called?)
Richard: Não sei (I don’t know)
César: Mas aconteceu mesmo? (Did it really happen?)
Richard: É o que dizem (Apparently)
César: Mas é verdade? (But is it true?)
Richard: Sim (Yes)
César: (laughs for six minutes) Ele…comprou…e mandou fechar…(he bought the bar…and closed it down) (laughs for eight minutes)
Richard: Sim (Yes)
Richard’s wife: Temos água? (Did we bring any water?)
César: (still laughing) Mas quando foi? (When was this)
Richard: Nos anos noventa, acho (In the 1990s, I think)
César: Ele mora lá ainda? (Does he still live there now?)
Richard: Não sei (I don’t know)
Richard’s wife: Porque não trouxemos água? (Why didn’t we bring any water?)
Richard: Desculpa (Sorry)
César (still laughing): Mas muita gente gostava do bar? (Was the bar popular?)
Richard: Não sei (I don’t know)
César (still laughing): Ele…(He…) (laughs for seven minutes)
Richard’s wife: Este farol, está perto? (Are we getting close to the lighthouse yet?)
César: Podes contar a historia de novo? (Can you tell me the story again?)
Richard: Não (No)
Here’s a story I didn’t tell César:
I once (in about 1995) heard an interview on Irish radio in which Bryan Adams explained the genesis of his most recent hit song (see below). He recounted that he had been messing around in his home studio (possibly in London, I don’t know.) He had a tune in his head but was feeling short of lyrical inspiration. Then his pet dog walked in, and he ended up writing a song about his dog.
Here’s the song:
Yesterday I was in Birrificio Marconi, a pleasant bar round the corner from our apartment. The TV screens were showing motor-racing (declaration: I fucking hate motor-racing) but thankfully the sound was turned off and the stereo was playing a not-unpleasant selection of Classic Rock. The song ‘Summer of ’69’ by Bryan Adams came on. Here are some thoughts inspired by the experience:
1. The intro sounds exactly like a number of songs on one of Billy Bragg’s first two albums (I’ve thought this for over 30 years but never got round to mentioning it to anyone.)
2. It’s also a Bruce Springsteen pastiche, just like many of Bon Jovi’s early hits. In the memo on my phone it says ‘teenage working class nostalgia’, which is a bit of a weak insight, I mean it’s obvious that’s what it is. I might be able to redeem this point by telling you that Adams’s dad went to the horrendously posh English military college Sandhurst, which happens to be true and does suggest that the image on the front of the single (see above) was playing on Brucie’s success and was a bit fake.
3. I think the choice of ’69’ as the setting for the song was to some extent laviscious and contributed to the song’s success as with its lyrics about ‘playing til my fingers bled’ etc etc it’s partly about discovering sex. (NB I’ve just read the Wikipedia page about the song and my interpretation is 100% spot on.) (I didn’t edit it myself.)
4. It’s entirely up to you whether you wish to relate point 3. above to the preceding anecdote (part 2).
5. Although it appears to be a simple let’s-do-the-gig-right-here bash-it-out rock song the very impressive surround speaker system of the Birrificio Marconi drew my attention to its emblematically mid-80s production: it has a lush, inflated sound which I believe started in the late 70s with Fleetwood Mac, particularly their hugely expensive album ‘Tusk’, which features one of my favourite songs (‘Sara’). That particular production style puts me in mind of the later stages of the films ‘Boogie Nights’ and ‘Goodfellas’. As the action moves into the cocaine bloat of the early 80s it’s soundtracked by the empty and gargantuan (but at those specific moments on those specific films actually quite moving) sound of stadium rock (Journey and the like), which speaks to me of cushioned studio walls and million-dollar recording budgets. You can hear this in the Bryan Adams song, as on a decent surround sound set of speakers it has a multidimensional sound, like you’re inhabiting the music. Those studio effects quickly became ubiquitous (think of the vacuous horrors of Heart and Starship and also Dylan’s almost unlistenable 1985 album ‘Empire Burlesque’, with its empty, echoey, overproduction values), and it’s no accident that the antihero of ‘American Psycho’, Patrick Bateman, rhapsodised about the sound of Whitney Houston’s debut album and the ‘consumate professionalism’ of Phil Collins and Huey Lewis and the News; the curious thing about hearing the Bryan Adams song yesterday was that it actually sounded really, really great.
I would like to apologise to anyone disappointed to find that parts 2 and 3 of this whatever-it-is have nothing whatsover to do with Mozambique. If there’s any demand for parts 4, 5 and 6 I’ll see what I can do but I’d imagine it’s quite unlikely to emerge anytime in the near future.
In what must have been September 1985 (when I was 13) I started seeing the above image on posters around my hometown of Sheffield. I wasn’t clear if it was advertising music or politics. Subsequently I started reading the music press, in which Mark E. Smith’s ensemble were ever-present. For around seven years, from 1987 (when they had their first Top 40 single) to 1993 (when they had a Top Ten album), you could legitimitely call him a pop star.
I tried hard with The Fall. At one point I ‘owned’ (what a quaint concept!) all of the albums from ‘Extricate’ to ‘Middle Class Revolt’, but I couldn’t call myself a fan. His manner on and off record was wilfully obtuse, his public statements drunk and ornery, his lyrics oblique and the music mostly discordant. There was the occasional glimpse of a more lilting and reflective side to their work which appealed to me, but overall the cut-up-William Burroughs/indied-up-Captain Beefheart mixup left me, if not cold, then certainly not warm enough to qualify as a Proper Fall Fan.
At the same time, I’ve always had a sneaking regard for real fans of the group. It seemed like a genuine sub-culture. The congregation at Fall gigs (I must have seen them three or four times) shows a stubborn attachment to something difficult-to-like that I find endearing and admirable. It seemed like a really cool club to belong to and I kind of wished I’d shown more curiosity back in 1985, when I was a disaffected schoolchild looking for an identity. Maybe if I’d gone for ‘Bend Sinister’ instead of ‘Please’ or ‘The Frenz Experiment’ instead of ‘Bobby Brown: The Remixes’ I would have gone on to become cool.
It’s a cliché whose truth I’ve recently had occasion to observe that all parents want their (now our) children to experience what we never could. In relation to The Fall I left it too late. I’d like to give my own daughter the chance to rectify that mistake on my behalf.
So far, although she’s been responding with animation to the music that I’ve exposed her to, it’s mostly been pretty accesible stuff like Prefab Sprout and Belle & Sebastian. Nursery rhyme pop, if you like. Twee stuff. (Or, given that we’re in 2017, snowflake music.) Now she’s two months old I think it’s time for her to start branching out. (Plus I think that lots of their songs are genuinely great, whether or not that’s deliberately the case I’m never quite sure.)
For my purposes I’ve chosen a series of tracks which I personally love (or at least don’t mind) and have chosen a time when her mum is out to avoid any unnecessary arguments about inappropriate childrearing techniques. I have provided a Spotify playlist should you wish to repeat the experiment with your infant – in the case of emergencies, go to track 12.
- ‘Totally Wired’. This is one of the group’s early singles, very much a post-punk product with jagged edges. I was a bit late for post-punk, being born in 1972, but I did grow up listening to the John Peel Show, so the abrasiveness of the music is something I appreciate. To say that my daughter would struggle to tell the difference between Devo, Magazine and Wire is no exaggeration, because she was born in January 2017. The phrase ‘it’s like punk never happened’ was rarely better employed. Hence she struggles to get past this first hurdle. Although she neither starts screaming or falls asleep, she does start moving her head in a slightly disturbingly frenetic manner, one which suggests the grating guitar is getting on her incipient nerves. We have to abandon the attempt after one minute and eleven seconds in case her head falls off and we end up on the front of Woman’s Weekly looking sorrowful and accompanied by the headline ‘TOTALLY WIRED: I lost my baby at two months because I was writing a tongue-in-cheek online thing about The Fall’.
- ‘Hex Enduction Hour’ is (according to those who know about these things) one of the Fall’s very greatest 45 minutes*. ‘The Classical’ is tuneful and the baby perks up (she’s in a jolly mood due to a recent infusion of milky-wilky). Unfortunately as soon as the second track (‘And the day’**) starts she goes puce and makes it clear why Fisher Price never use The Fall to soundtrack their products. There’s too much going on and from a newborn perspective it’s an audio nightmare. I quickly change to ‘Billy’ by Prefab Sprout, which she’s heard around 300 times, and once I’ve taken advantage of a pause for breath to angle her miniscule ear towards the speaker she stops bawling immediately. Mark E. Smith 0, Paddy McAloon 1.
- ‘Victoria’. This feels like a bit like cheating because it’s a straightforward version of a Kinks song which The Fall covered in 1987, and which gave them a top 30 hit. It’s a cheerful if jingoistic romp and goes down extremely well with the baby, who takes very kindly to being bobbed around the living room in a lively BUT NOT IN ANY WAY DANGEROUS manner.
- ‘Edinburgh Man’. Always a personal favourite, I’m hoping that this single-handedly turn her into a lifelong fan. She looks quite wistful, like she’s reminiscing about long-ago visits to the festival in Auld Reekie. Whatever she is thinking, it’s probably not that, but I add this to the mental list of songs to play when we need her to calm down a bit. Thanks, Mark.
- ‘Bill is Dead’. I wonder what Mark E. Smith was like as a baby. Mine falls asleep immediately both times I play this and misses the epically tender bit at the end. One day if she ever hears the Happy Mondays she might notice that this sounds a bit like them slowed down.
- ‘The Mixer’. This is an extremely accessible and fun conventional pop song. They’re aren’t any Fall songs which sound like The London Boys, but this one has got handclaps on it. My high hopes are dashed, however, because my wife reminds me that it’s bath time and after that she (the baby) falls fast asleep for seven hours. I’m feeling pretty knackered myself so I’m not about to wake her up so I can play her ‘The Mixer’ by The Fall.
- ‘Free Range’. Released in 1992, this seems to be about the European Union in the year when borders opened up. I feel pretty sure that given his relentlessly chippy persona Mark E. Smith would turn out to be in favour of Brexit, but as it happens he seems to have been uncharisterically silent on the topic, although he did keep his end up by saying some quite twatty things about refugees last year. Sadly I don’t remember anything the baby did when this was on, but she did seem to quite like ‘Birmingham School of Business School’ from the same album, maybe because for the first time she was able to relate to the lyrics, as the opening lines go ‘wa wa waa wa wa waa wa wa wa wa wa’. Maybe it was one of the very first songs that Mark E. Smith wrote.
- ‘Reformation’. One of the few Fall songs from the last twenty years that I know and like. A curious thing about The Fall is that although the singer doesn’t seem to do much apart from write lyrics, drink alcohol and periodically sack the other members of the band, they do maintain a distinctive but varied sound. This one is almost metallish in its ferocity, so I play it quite quietly in order to avoid any disputes of the aforementioned variety. If you didn’t know that newborn babies could be nonplussed, you do now.
- ‘Facebook Troll’***. In doing ‘research’ for this piece the title of this one caught my eye. It’s actually two songs because it’s medleyed with one called ‘No Xmas for John Quay’. I can’t make head or tail of the lyrics and the music is shit. Maybe when she’s a bit older my daughter will be able to explain to me what it means. For the time being she stares at one of the speakers for a bit in a way that suggests her nappy needs changing.
The result, then: Inconclusive. To close, just in case my daughter should ever come to read this, I’d like to paraphrase the ending of ‘London Fields’ by Martin Amis (someone who’s been looking almost as decrepid as Mark E. Smith himself): “So if you ever heard something, when you weren’t even two months old, like catchy-but-dissonant post-punk music, a bit like the Stooges but fronted by a verbally incontinent and cantankerous Mancunian drunkenly shouting half-remembered chunks of HP Lovecraft short stories mixed with items from his shopping list, it was The Fall. It was The Fall“.
* ‘Hex Enduction Hour’ is actually 60 minutes long.
** Spotify happened to be on shuffle.
*** Spotify gets the title wrong, it’s actually called ‘Fibre Book Troll’.
Thank you to members of the excellent Fall online forum at http://z1.invisionfree.com/thefall/index.php?showforum=7 for occasional fact- and spellchecking.
(Incidentally, the Bobby Brown album I referred to wasn’t actually called ‘Bobby Brown: The Remixes’ but ‘Dance!…Ya know it!’.
That last correction did not come from the Fall online forum.)
Any music-loving parent hopes that their kids will inherit their musical taste, so I’m delighted to report that my daughter has developed a appreciation for Prefab Sprout which echoes my own. Inevitably a few of the jazz-influenced chord changes on ‘Swoon’ (1984) threw her a bit on a first listen, some of the more obtuse lyrics on ‘Jordan: The Comeback’ (1990) are a bit over her head and she found the sentiments of ‘The Sound of Crying’ (1992) a bit saccharine, but then to be fair she is only five weeks old.
She’s already more of a fan than some of the people on the Prefab Sprout online forum. Last week an associate of the Sprouts’ frontman Paddy McAloon uploaded a video to Youtube in which, accompanied only by an acoustic guitar, Paddy sings a moving lament which celebrates the most inclusive and welcoming aspects of US society at a time when its worst instincts are to the fore. Some fans in the ‘Sproutnet Community‘ were quick to dismiss its platitudinous appeals to the spirit of ‘liberal humanism’ (urgh! humans!!!). It seems strange that someone could spend 25 years following the Prefabs, putting up with Paddy writing albums called things like ‘Let’s Change the World With Music’ (2009) in the forlorn hope that he’ll some day release one called ‘Isn’t it about time we sent some gunships to deal with those so-called refugees for once and for all’, but this is, after all, the internet and no one nowadays wants to be accused of being a ‘snowflake’.
My daughter also responded in an unusual way to a song clearly designed to bring a tear to the eye: she stopped crying. For four minutes she listened in what I take to be wonder but may have just been a temporary absence of gastric discomfort. She has also reacted very well to being gently swayed round the living room to some of the more lilting moments on ‘Steve McQueen’, and even managed to get through a good 12 minutes of ‘I Trawl the Megahertz’ without bawling her eyes out for even more milky-wilky.
As for myself, I’ve been a fan of Prefab Sprout since 1988, when I was 17, at a time in my life when I was trying to come to terms with my inner snowflake. I bought all four albums in one day, probably in response to a review by some absolute genius in Melody Maker. Their unabashed erudition mixed with shameless appeals to the heartstrings twanged a very resonant minor chord in my sensitive teenage soul. That, in fact, is the theme of one of the songs on ‘From Langley Park to Memphis’ (1988) (‘Enchanted’). It was apparently inspired by the feeling that nothing again strikes you with the same force as it does when you were 17.
Although Paddy himself is not as fresh-faced as he appeared in their commercial heyday, there remains something entirely free of cynicism in the view of the world expressed in his songs. It is heartfelt, earnest and enormously sweet without any aftertaste of bitterness. From ‘Swoon’ to ‘Crimson/Red’ (2013) by way of the unembarrassable AOR of ‘The Gunman and Other Stories’ (2001), there is a wide-eyedness to his work which is, for people like me who recognise him as a full-on no-holds-barred actual songwriting genius, relentlessly endearing and comforting. He is a magnificent lyricist and can do things with a succession of key changes that very few bar Steven Sondheim and George Gershwin have done before him.
There are so many great Prefab Sprout songs that I’m not going to list them. If you do appreciate or don’t know their music you will enjoy the playlist that follows this piece. Sadly Spotify doesn’t feature one of Paddy’s very greatest moments, so I urge you to click here and take twenty one minutes out of your wonderful/impossible life to listen to it. It comes from an extraordinary album (‘I Trawl the Megahertz’, 2003) which was famously killed stonedead by the Guardian’s heartless decision not to review it*, but which in a far better world would have become the new national anthem of the human race. The rest is a personal selection of some of the most moving and inspiring songs ever, ever written. I hope you enjoy it as much as my daughter does. Well, seems to.
* Serious Sprout fans are still holding out for a Chilcott-style inquiry into this sorry episode.
It used to take me about 45 minutes to listen to an album; nowadays it takes me at least a week. I find it hard to summon the patience and attention necessary to engage with new music. This would have been unimaginable when I was 15 and obsessed with music. Then the thought of some sort of supermarket sweep in a record shop would have been beyond my wildest dreams. But since the initial smash-and-grab of filesharing in the early part of the last decade it’s become clear to me that music so easily obtained is also easily discarded, and much harder to develop that deep connection with it that came from having invested the proceeds of my paper round. Nowadays even when someone sends me or shares something it often feels like a chore to have to listen to it, and I know the same is true when I share songs with others.
Of course, I could, as most do, walking around listening to music. Creating your own soundtrack to overlay reality often feels like a cinematic experience, one which remakes the world with you at its centre, dramatising time and space with you cast as the hero, or at least the protagonist. As Will Self explores in this Guardian piece, it does so at the cost of setting you apart from your immediate physical and social environment, providing:
…a soundtrack that our walker can choreograph all the traffic to, human and vehicular, her deft, darting eyes seamlessly stitching order out of the chaos so that everything around her skips to her divinely ordained beat.
Also, until very recently I had an ongoing ear problem which made listening to headphones an irritatingly imbalanced experience. Add to this the presence of a new baby who needs to sleep but isn’t always aware of the fact, and my music intake has been severely reduced.
In all this media saturation, with pretty much all recorded music and film available at a twitch of the thumb, it’s inevitable to have blind spots. I’ve always enjoyed those moments when I realise there’s something or someone – a writer, group or director – whose work I’ve been aware of but never focussed on. It often takes concerted effort on behalf of someone else to make me really listen to something. When a friend told me last summer she was excited about going to see Kate Tempest in concert, it failed to register. I vaguely thought she was some sort of folk singer in the same breed as Mumford & Sons. It was only when another friend emailed last week insisting that I watch a BBC performance of her album ‘Let Them Eat Chaos’ that I forced myself to actively pay attention, and even then it took me a week of interruptions to get through the whole thing.
Over the ten linked tracks Tempest unfolds the story of seven young neighbours on a London street, perfect strangers to one another, each lying awake before dawn worrying about their lives as, unbeknownst to them, a huge storm approaches. She articulates fears that reflect mine and doesn’t shy away from themes that (should) make people uncomfortable: climate change, immigration and racism. She does so in a way which is not hopeful but is certainly compassionate to the plight of her characters. Her tone is impassioned but also thoughtful, and her eye is acutely attentive to those details of our private and shared landscapes which are often overlooked or hidden away. She chooses an appropriate scale for the gravity of her themes, moving swiftly but deftly between the cosmological and the mundane, from images of the wounded planet to the everyday drudgery of worrying about the demands of the working day.
I’ve seen comparisons to the Streets concept album ‘A Grand Don’t Come for Free’, in terms of the scale of the project and the urban themes. There are more recent reference points but I’m only loosely aware of. In a typically vituperative tweet the Sleaford Mods dismiss her as derivative of artists like Jamie T and Lady Sov. I think it’s a shame they don’t engage more with her work as they have a lot in common. I’ve long enjoyed their work but have only heard odd songs. Luckily the release of their new album has coincided with both my discovery of Kate Tempest and the (disgusting) resolution of my hearing difficulty to make a useful comparison possible.
Both artists seek explicitly to accurately represent working class concerns in 2017. Visually the Mods are a punk Pet Shop Boys mixed with the insouciance of the Gallagher brothers. Musically they appear rudimentary in their dependence on beats, basslines and samples, but they make very inventive and compelling use of that limited palette. The ostensive sparseness of their sound puts me in mind of post-punk – a lot of their tracks recapture the sound of 1980, while others make more direct reference to hiphop. As with Tempest, Wu Tang Clan are a direct inspiration.
Like Die Antwoord (another group which I like but rarely actually listen to), they initially seemed to be a novelty act with a limited number of tricks but whose serious intent has become more apparent. Nevertheless there is a strong component of comedy to what they do. There are echoes not only of avin-a-larf late punk bands like Sham 69 but also of K*nt and the Gang and even (when we get to the chants of ‘you fat bastard’) the Macc Lads. Jason Williamson shares some of Tempest’s poetic acuity, with many of their songs picking up on aspects of contemporary British life which it is genuinely surprising and refreshing to hear articulated in song – references to chain pubs, welfare cuts, closed-down shops, stoned trips to the corner shop and military fitness abound. Until recently, the tone has been consistent. It’s one of sneering undercut by anger and sadness. Their default mode is to rant and condemn. On the recent album a more plaintive and oblique mood has crept in, but it remains a very blokish vision, harsh and unforgiving. For all their progressive credentials, it sounds to me very much like the rage and hurt which John Harris identified in this must-see talk as key to the Brexit vote*.
Then there’s the humour, in all its joyous abusiveness. When I first heard ‘Jobseeker’ I thought it sounded like Modern Toss on record. Others have made the same connection. Several characters created by the Brighton cartoonists are present in Sleaford Mods tracks. They are the musical version of the disaffected-to-the-point-of-obnoxiousness figures represented in the Work, Customer Service, Drive By Abuser, Mr Tourette and Alan cartoons. Both Sleaford Mods and Modern Toss present a Britain in which a precondition of almost any job is that you have to regard and treat other humans as resources, and thirty years of neoliberal managerial doctrine in every area of our lives has encouraged us to view each other primarily as means to an end. What results is (in everyday life) deeply unpleasant and (on paper or record) hilarious insouciance, a principled refusal to treat other people and the social roles they embody with due respect.
This is partly due, then, to the alienating effect of bureaucratising language, as identified by Mark Fisher in ‘Capitalist Realism’. It is an expression of what he calls ‘reflexive impotence’, especially prevalent among those who have been educated in a system which emphasises very narrowly-defined notions of success, promoting individual ‘entrepreneurship’ at every turn and dismissing the notion that society has any responsibilities towards its members. It is also related to the spirit that Momus identified in his classic rant about a visit back to the UK, a place where ubiquitous marketing promotes addiction and competition as central metaphors for understanding and responding to reality and treating others:
We stop at a filling station on the Shoreditch High Street to buy some food. A homeless man is sitting at the entrance. ‘Spare some change, please? Spare some change?’ A black man gets out of a BMW and comes over to reform him. ‘Look at yourself, mate, you’ve got to stop using the stuff. Go to a gym, man, do a workout, get out of this state you’re in, it’s a fucking shame on you, man!’ He’s a winner, the junkie’s a loser. Go to a gym, start a business, buy a BMW, join the winners. It’s dog eat dog.
This imperative to think about life as a competition is also present in the lives of Tempest’s characters, but in her case she cares for them and is considerate of their vulnerabilities, unpleasant as the individuals may appear on the surface. This is partly a question of empathy. For all the acuteness of their observations Sleaford Mods don’t have that. Instead they rail against individual manifestations of all they despise. Their songs are mostly directed against particular targets – with scabrous wit and undercut by despair, but without the generous insights integral to Tempest’s work.
Both artists address and articulate the bleakness of a society which promotes consumerism as a means of aspiration, the alienation inherent in a worldview and way of life which regard branded sneakers and two-for-one offers on cans of Strongbow as worth living and dying for. For me, a constant implicit presence in the recent work of both is the riots of 2011, which I believe have a curious and underexplored relationship to the Brexit vote. Zygmunt Bauman attributed them to the phenomenon of ‘frustrated consumers’: mainly young people who had grown up inculcated in the belief that one’s worth and identity is realised through the acquisition of prestigious material goods, but denied the means of acquiring any means of doing so legitimately and blamed for their failure, one which society – in the form of the education system and the media – absolves itself of all responsibility**. John Harris’ talk makes clear how that pattern operated on a larger scale, and with more widespread and long-lasting effects, in relation to Brexit.
Although contrary to what the Guardian review of ‘English Tapas’ says, it is not the first ‘post-Brexit’ album (that honour goes to Momus), the work of both Kate Tempest and that of Sleafords Mods provides a very good guide to what JG Ballard called the ‘unacknowledged present’ of the UK today, to those subjacent pressures, manifest in all of our lives to a hideously unequal degree, that are prone to break through in unexpected and unpleasant ways. While the Sleaford Mods’ vision is conditioned mostly by bitterness and despair, Kate Tempest’s is tempered by compassion and a spirit of goodwill towards our vulnerabilities.
* This post marks the 312th time I have linked to that talk.
** Ditto for the Bauman article.
One of the happiest memories of my life is of my 40th birthday get-together in June 2012, when my friend Craig showed me a video on his phone of our former secondary school being smashed to pieces by bulldozers. This realisation of a dream of our teenage years is one of the best presents I have ever received.
The reputation of the school had already taken an industrial hammering. Lying on a beach in the Algarve in September 1999, I read a lengthy Guardian report by the investigative journalist Nick Davies (later of ‘Churnalism’ fame). He identified my school as an emblematic victim of early-’80s educational reforms which aimed to remove the comprehensive elements of the education system. It was the perfect example of a school which went wrong in this way. The key year when things really started to plummet downhill like an out-of-control pram was 1983, when they removed streaming. It was also the year I and my cohorts arrived. We were, it seemed, the victims of an experiment – or, at least, of an experiment which had been made to fail by the power of class and a Government ideologically opposed to the principles of comprehensive education. That might explain why we were taught music lessons by a German teacher with an open fascination with Hitler, why we learned French in a science lab whose gas taps some kids could never quite get enough of, and why our Religious Education classes mostly consisted of listening to the teacher’s favourite progressive rock albums, particularly the Ayn ‘Medicare’ Rand-influenced Rush album ‘2112’.
Destruction was a theme of my youth. Sheffield was in the process of deindustrialising and so parts of it were disappearing. A few years ago I came across a BBC documentary from September 1973 (fifteen months after I was born) called ‘All in a Day’, which tracked the daily lives of various locals. Parts of it I recognised but there were some things -fashions, ways of life, institutions – which had already vanished by the time I came into consciousness. Then, when I was 12, I saw the city destroyed by a nuclear explosion.
‘Threads’ was the work of Barry Hines (who also wrote ‘Kes’) and it was shown on the BBC in late 1984. It was a extremely vivid depiction of the total annihilation of the only city I knew. A simmering confrontation in the Middle East between the two superpowers was discussed in increasingly urgent tones on background TVs and the radio, while people very similar to those I knew went about their everyday lives. Some schoolfriends were filmed running down the main shopping street screaming when the four-minute warning went off. My own sister was an extra. She appeared for several centiseconds at the end of a scene in which ashen-faced ‘survivors’ looked though a fence in the radioactive fog at armed soldiers guarding the emergency food supplies. She looked just like she was living through a nuclear holocaust. In reality, of course, she was just terrified she wouldn’t get on TV. The scream she let out on seeing herself was louder than a megaton bomb*.
The irony that South Yorkshire had declared itself a ‘nuclear free-zone’ was much commented-upon, as was the oft-trumpeted (but more often parodied) notion of the ‘Socialist Republic of South Yorkshire’. I grew up in a politically-charged atmosphere. Trips into town to seek out new books and music would inevitably involve getting caught up in furious discussions with left-wing newspaper sellers. I remember the first wave of strikes provoked by Thatcher as part of Nicholas Ridley’s plan to smash to unions to pieces. My father, after a career in haut cuisine, worked at a steel plant from around 1980. When I was ten, in April 1983, he took me on my first protest, outside Cutler’s Hall where Thatcher herself was speaking. Then there was the Miner’s Strike, about which I remember shamefully little.
My vague sense of imminent doom wasn’t helped by the news in 1988 that human civilisation was forcing the world’s temperatures to rise. Whenever I think of the moment I first learned about global warming, I picture the classroom at King Ecgbert’s, in the posher part of town, where I did an A-level in Government and Political Studies. We had a teacher who read to us from The Guardian. The fact that he treated us like adults and obviously enjoyed his job inspired thoughtful, if inchoate, responses. I can see myself in that classroom aged 17; I’m saying something I must have read in the Guardian about feedback loops.
Around that time I was becoming interested in other kinds of loops. In the Leadmill I heard the sparse bleeps and haunting echoes of ‘Sweet Exorcist‘ for the first time. The music released by Fonn and then Warp records followed an established local tradition, using a palette of industrial sounds. In this excellent BBC documentary local musicians of the time talk about how the sounds of the working city forged their sound:
Sheffield was also musically twinned with Dusseldorf, given the influence of Kraftwerk on the Human League and Heaven 17. The dystopian fictions of J.G. Ballard were also an ingredient. Although they never found (or indeed sought) commercial success, Cabaret Voltaire were part of the same wave, along with the Comsat Angels, whose bassist (much more of a pop star than we’d ever be) lived around the corner from us.
Then there was ABC, with their gold lame suits and lush, orchestrated and articulate critiques of Thatcherism. Their flamboyance stood out given that the general tone of life in Sheffield is ‘unimpressed’. There’s an earthiness, a flatness of voice and attitude which contrasts with the hills. Jarvis Cocker is the canonic example of someone who both celebrates and supercedes this. He left the city to broaden his horizons and seek fame but has nevertheless remained loyal. It was his musical map of Sheffield which taught me about the importance of Sheffield’s five rivers in its industrial development. (They probably tried to teach me that in geography classes, but I just remember being lectured about superpigs in the Ruhr Valley by a teacher with a military moustache who spent most of the lessons with his head buried in the Daily Mail.) I thus consider Jarvis to be more of a Sheffielder than I am. Still now my geography of my hometown is shameful. Someone else who knows the city much better than me is the architecture writer Owen Hatherley, who, although he’s not from there, is an articulate and enthusiastic advocate for the Sheffield of the 50’s and 60’s and the pop music culture it eventually inspired. He called his book on Pulp ‘Common’.
The song his title refers to is not my favourite but it is very well-observed. The insult ‘common’ was a very, well, common way of dismissing someone, of asserting one’s claim to a higher rung on the ladder. School was rough, with bullying commonplace, and you just had to learn to cope without appearing ‘soft’. You could detect the resultant hardiness and stoicism in the music. In 1986 the Human League had a transatlantic hit with a song which was clearly not their own. It had been written by Jam and Lewis for Alexander O’Neill or Janet Jackson, and to my ears the spoken section, which was designed to sound breathy and passionate, sounded distinctly sulky, or, as we say in Sheffield, mardy. Actually, when, on what must have been New Year’s Day 1989, me and a friend went to Phil Oakey’s house on Ecclesall Road, he was cheery and welcoming. He made us a cup of tea and we chatted about Barry White.
When I was growing up, the Human League were the local celebrities, our representatives on the national stage, or at least on Top of the Pops. The same was emphatically not true of Def Leppard, at least not in my part of town. They had taken the sounds of heavy steel production in a less interesting direction, to the mid-Atlantic rather than Central Europe. Then, in the ’90s, Sheffield became synonymous with The Full Monty. I’ve watched this film more times than Stewart Lee has seen Scooby Doo. It’s the tale of a group of redundant steelworkers forced by economic circumstances to reinvent themselves as male strippers. One of the most telling moments comes early on, when the wife of one of the main characters pisses in a urinal, thus parodying and asserting a claim over a symbol of male identity. The loss of stable industrial work, with its attendant self-image of the strong male breadwinner, implies a crisis of masculinity. The men have to divest themselves of their ‘male’ identity and try to make the adaption to more ‘feminised’ forms of work, in which bodily image and the ability to adjust to the demands of spectacle are of central concern. The film thus dramatises the fabled shift from heavy industry to the leisure economy and the suspense comes from the question of whether they can make the transition. In fairy tale fashion, they succeed, putting on a strip night and proving they have what it takes to entertain. How they will go on from this one-off performance is unclear, but in neoliberal terms (and this is an emblematically Blairite film), by debasing themselves to the demands of the market they’ve demonstrated they have sufficient will to survive. Although it wasn’t set in Sheffield but nearby, Brassed Off trod very similar ground but was more sombre and angrier in tone. If you add in Billy Elliot there was actually a minor genre of 1990s films in which former industrial zones learnt to strip, play or dance to tunes played by the forces of globalised capitalism.
On another level this is what most cities on the world are trying to do nowadays: to market themselves as cultural destinations. For a brief period Sheffield was home to the ambitious but ill-fated National Centre for Popular Music. The fact that I, for whom pop music was more important than breathing, never got round to visiting it is some indication of how ill-conceived it was. Sheffield also tried to attract sports fans, with the hugely expensive debacle of the World Student Games (who?) in 1991, which the city is, as far as I know, still paying for.
I witnessed the waning of a certain visionary spirit, that which inspired the destruction of the slums and the investment in public housing of the 1950s-60s. Owen Hatherley records that the housing estates in some parts of Gleadless were designed to take advantage of the steep topography and, in the right light, they resemble sunlit Californian hillsides. Park Hill was an absolutely laudable attempt to create decent living conditions close to the centre of the city for ordinary people. It failed, partly through official neglect, but has been widely recognised as a masterpiece of urban design. There was also abundant evidence of a previous generation of patrician municipal idealism in the late 19th Century art galleries, museums and libraries. Then there was the Crucible, which, in addition to snooker championships, put on productions at affordable prices and gave young people to develop an interest in the theatre. Such initiatives were the fruit of an ethic according to which ordinary people should participate fully in the life of the city. One of the great symbols of this principle was the bus fares. As a child I paid 2p to go anywhere in the city. It was a little bit of Cuban-style socialism, one that life immensely more livable. I was lucky to grow up in such a time and place.
Nowadays a different set of priorities prevail. After a number of years the City Council managed to destroy two grubby-but-popular markets (Castle and Sheaf) which played an essential role in the life of the city. They attracted the Wrong Sort of People, principally the poor and the old. The Council demolished the markets and built a more expensive alternative in a totally different part of the city. Doing so is in keeping with an ideological shift: neo-Blairite politicians and their successors want to attract consumers, or preferably hyperconsumers, and what happens to the social fabric as a result is of lesser concern. Thus Sheffield now has some excellent and very large places to eat for those who have some money and want to pretend they have lots: Dubai-style casinos and gargantuan but bland chain steakhouses and Chinese restaurants crowd out the area next to the Town Hall. Also very prominent in the city centre are new blocks of flats, mostly built to accommodate exponentially-multiplying numbers of future generations of foreign university students who, given Theresa May’s antipathy to the UK’s economic survival, will almost certainly never arrive.
One of Sheffield’s least favourite sons, Nick Clegg MP, boasted when he was in government that he would preside over ‘savage cuts’, and the amount of people begging around the city are a testament to just how much he managed to achieve. The desperation caused by the viscous ideologically-inspired attacks on government spending must also have been a factor in the city having voted narrowly for Brexit (by 6,000 votes). Sheffield, dependent on government and EU spending in all its forms, is one city that will suffer enormously as a result. Its attempts to adjust to the new reality of a government agenda driven by psychopathic zeal do direct damage to both the standard of living and the quality of life of the city. As of 2017, the local council has now, in absolute desperation, begun a war against trees, as well as (as far as I can make out) dimming the streetlights. Perhaps they are taking the need to cut down on overheads a little too literally.
My knowledge of Sheffield is dwarfed by the number of things I don’t know, particularly given that I haven’t lived there since I was 18. I’m almost proud to say I don’t know more than a couple of the places mentioned in this recent Guardian article. There’s also the multi-venue music festival Tramlines (for which much credit has to go to a member of the increasingly-less-interesting local superstar band Arctic Monkeys), and the internationally renowned documentary festival.
There are also all sorts of wonderful things in Sheffield that have always been there: the art galleries, the museums, shops like Rhyme and Reason (a treasure trove of books and records I practically lived in when I was young and which, despite the best efforts of the Council, is still hanging on). Hunter’s Bar and the area around Kelham Island still have an abundance of very decent pubs. Sheffield’s parks (and the cafés in the parks) are an absolute joy. The walk from Endcliffe Park through Forge Dam and up Jacob’s Ladder towards the peaks and dales of Derbyshire rivals any holiday jaunt in Tuscany, and the echo of ancient civilisations around Mam Tor and Froggat Edge is just as resonant as symbols of the mysterious beliefs and rituals of lost civilisations at Teotihuacan.
Nevertheless I’m not all that loyal to the city. Neither of my parents is from there and (partly as a result) I don’t sound like a local. There are far more well-informed spokespeople for the city than me. Growing up in Sheffield was pretty much all I knew and it took me until a long time after I’d left to begin to reflect on the geographic and social layout of the city and where I stood in relation to it. Nevertheless it’s the city I’ve spent more time in than anywhere else, and contains numerous people and places who and which will always be among the most precious in my life. I also feel an occasional burst of sentimental pride, mostly from a distance. I can detect traces of deep class solidarity in this video, filmed in a friend’s local pub on the night that Thatcher finally died. I’ll also happily admit to feeling a sense of intense melancholy joy at the end of Synth Britannia at the moment where the LA synth-pomp of ‘Together in Electric Dreams’ kicked in.
But the strongest sense of being part of a community of those born and brought up in Sheffield was in March 2015, when I was part of a group of organisers of a march in London on the theme of Climate Change. Just a few weeks before, on a stormy afternoon, we’d been walking by a river in Derbyshire following several days’ rainfall, admiring the sheer force of the water. The city of Sheffield came into existence as a result of a particular confluence of climatic forces, and in turn played a key role in the development of the industrial age which has come to jeopardise our future as a species. That’s why it felt particular fitting and moving to see on Youtube a group of local choir members gathered at the station to set off for the demonstration, singing an Italian partisan anthem remade for times which will, if we choose to face up to our responsibilities, require similar levels of sacrifice and courage:
(…and then, of course, there’s also this.)
* In an exclusive interview with this website, my sister had the following to say:
I was a 14 year old child star but the rock n roll lifestyle was too much so I had to get a career in the aviation industry when the offers dried up. (The following day).
There were 3 locations that we had to be at & that were at various stages in the aftermath of a nuclear war…the film is on you tube I think x