Updated 8/11 (Barnett, Hastings)
Andrew O’Hagan’s been thinking – and talking to people – about the Savile scandal and the larger cultural conditions it grew from. His piece is a bit overlong and, I think, under-edited, but it’s genuinely insightful and troubling for all that. I shall be thinking about this for a while:
The public made Jimmy Savile. It loved him. It knighted him. The Prince of Wales accorded him special rights and the authorities at Broadmoor gave him his own set of keys. A whole entertainment structure was built to house him and make him feel secure. That’s no one’s fault: entertainment, like literature, thrives on weirdos, and Savile entered a culture made not only to tolerate his oddness but to find it refreshing.
And, in particular, this:
Let’s blame him for all the things he obviously was, and blame him for a host of other things we don’t understand, such as how we love freaks and how we select and protect people who are ‘eccentric’ in order to feed our need for disorder. We’ll blame him for that too and say we never knew there would be any victims, when, in fact, we depend on there being victims. Savile just wouldn’t have been worth so much to us without his capacity to hurt.
I don’t know quite what that last sentence means and I’m not sure O’Hagan does either, but I’ve got a horrible feeling it’s true.
A week after writing the above, I saw this from Anthony Barnett which I think joins some of the dots. Barnett starts by musing on the sheer repellence of Savile – the obvious, in-your-face excessiveness of his get-up and demeanour -
Why did ‘we the public’ admire a blatantly bad man? You only needed to look twice at his clothes, his glasses, his conjuror’s apparatus of decoys and diversions, his bling and his shell-suits and cultivated white-blond hair to sense he was repellent. Imagine getting onto a bus filled with Jims grinning with his arrogance and self-aggrandisement.
I’ll come on to “we the public” in a minute – that assumed ‘we’ is one of the weak points of O’Hagan’s piece as well – but I do think this is a real question. Why did people not only tolerate but celebrate such an insistent display of preening arrogance? Did nobody ever ring up and say “About that PA, Jim – maybe something low-key this time, not so much of the gold and leave the cigars at home”? It doesn’t seem very likely – the peacocking was part of what people wanted. Why? Barnett suggests an interesting answer and makes a couple of interesting parallels:
It was thanks to a form of celebrity that shares and rejoices in the whiff of wickedness that surrounds misogyny. The cult (and love) of chauvinist celebrity forgives misdemeanours ahead of time. It encourages men especially to project longings to be outside the law onto the figure of fame. The media may provide the cult’s priests, but the congregation is compliant and provides the energy. Today celebrities seem to build entire reputations on ‘getting away with it’ as ‘we the public’ continue to collude in a worship of strong and powerful men who break the rules.
Bingo – Jimmy Savile’s appeal wasn’t acting like an infantile megalomaniac, it was acting like an infantile megalomaniac and getting away with it. People around him knew that the treatment he was getting was against the rules; they also knew nobody would ever bend the rules for them in the same way, and deep down they wished somebody would. So if he could get away with it, well, good luck to him.
There’s something quite deep-rooted and weird going on here. Jerry Sadowitz’s 1987 crack about Savile – “That’s why he does all the fucking charity work: it’s to gain public sympathy for when his fucking case comes up.” - hints at it but (perhaps surprisingly) doesn’t go far enough. Consider what we knew about Savile before he died:
- What he was like: flashy, excessive, arrogant, with a one-note act centring on drawing attention to himself
- What he did: charged large amounts of money for appearing and doing the act
- How he did it: his own way, for his own price (I don’t get out of bed for less than £10,000) and whatever side-benefits he felt like
- What he did it for: charity, in particular children’s charities
He demanded attention, to himself as himself – look at me being me, doing the me thing that I do! He was loved and cared for and had to do nothing in return apart from being him, doing the being-him act. He did it however he wanted to, and everyone else had to fit in around him. And he did it for unarguable good causes – not only good causes, but perhaps the one type of good cause that everybody, however hard-headed or mean-spirited, can sign up to. (Famine in Africa? Charity begins at home, I say. Cancer research? Can’t fight Fate, we’ve all got to go some time. Terminally-ill children? Ahhh…) To be loved unconditionally while being an all-powerful egomaniac, and at the same time to be undeniably good – it’s genuinely infantile thinking; it’s how we all think of ourselves, or would like to think of ourselves, between about 18 months and 3 years. Never quite goes away, either – so when we see somebody dedicated to living that particular dream, there is a definite urge to bend the rules of the adult world so that they can get away with it. In its own terms it’s a virtuous circle – the star lives out the fantasy, so we bend the rules for them, so they get away with it, so we bend the rules some more… It’s only when the music stops that we find out what they’ve been getting away with – hence Elvis’s squirrel sandwiches NB check this or Imelda Marcos’s shoes. Or Savile’s victims. Needless to say, there can be an excessive, spectacular edge to the exposure phase as well, as if to keep the roundabout spinning just a bit longer – look what else he’s been getting away with! Which may tell us something about the Duncroft story.
We project our own thwarted megalomania onto stars, I’m suggesting, and part of the process is wanting them to break the rules and get away with it – and indulging them when they do. (You can tell a lot about how loyal a following somebody has from their reaction to brushes with the law. Compare and contrast: Pete Doherty and heroin, George Michael and cannabis, Richard Madeley and Tesco.) There are two worrying aspects to this. One is directly relevant to Savile, and relates to just what people get away with when they can get away with it. The good news is that most people, given the power to please themselves, don’t gravitate to cruelty and abuse – the dressing rooms of the stars aren’t one long Stanford Prison Experiment. But there’s always that possibility, particularly in a culture which positively validates male power over women. The 70s are a long time ago – they seem like a different planet – but that culture and that possibility haven’t entirely gone away.
The other issue, which is perhaps more immediate, concerns what happens when celebrity culture seeps into politics – which is where Barnett’s parallels come in. He points to an extraordinary piece in the Daily Mail, in which Max Hastings settles some old scores. Either that or he really hates his subject:
Most politicians are ambitious and ruthless, but Boris is a gold medal egomaniac. I would not trust him with my wife nor — from painful experience — with my wallet. It is unnecessary to take any moral view about his almost crazed infidelities, but it is hard to believe that any man so conspicuously incapable of controlling his own libido is fit to be trusted with controlling the country.
His chaotic public persona is not an act — he is, indeed, manically disorganised about everything except his own image management. He is also a far more ruthless, and frankly nastier, figure than the public appreciates.
Some Tory MPs are so panicked by their standing in the opinion polls that they have persuaded themselves that London’s mayor is the future. On the basis of what, some of us would ask. Boris Bikes on London’s streets? The peerless jokes and bonhomie and TV wizardry? Testimonials from ex-lovers who found him amusing in bed?
Ouch. But then, what’s behind his (clearly quite substantial) popular appeal, if all there is to the man is ruthless egomania and a few good jokes?
A friend said to me not long ago: ‘When will you understand that the reason the young are potty about Boris is precisely because he is not serious, because he treats the whole business of politics as a bit of a lark.’ This is true. I sat at a dinner table last week with three teenagers who expressed near-hero worship for the mayor, and said they could not care less when I suggested that he has less integrity than a City banker.
Boris Johnson was at the Tory conference yesterday for one purpose only — the exaltation of himself. This does not much matter when he is only Mayor of London, but would make him a wretched prime minister. He is not a man to believe in, to trust or respect save as a superlative exhibitionist. He is bereft of judgment, loyalty and discretion.
Answer: what’s behind it is… ruthless egomania and a few good jokes. Before Johnson was elected, Caitlin Moran semi-seriously advised voting against him because of the jokes – because, as she knows (and I know) making jokes to order is hard, time-consuming, attention-stealing work, and the time and energy he’d spent dreaming up “Ping-pong’s coming home” could have been much better spent on, well, politics. She missed what now seems obvious – that the jokes are actually a demonstration of how little of his attention Johnson devotes to politics, and that this is part of his appeal. He gets away with it – and a key emblem of getting away with it, in a society where men dream of power over women, is an element of unpunished sexual dominance and deceit. A Boris who didn’t cheat on his wife wouldn’t be Boris.
There’s another obvious political parallel, which Barnett mentions briefly in his conclusion:
the kind of racy ‘reality’ [Savile] personified was an early product of a twisted version of male celebrity culture whose misogyny continues to be celebrated and is seeping into politics.
That’s the bad news. The good news is that this isn’t Italy. There is also growing resistance to such behaviour in large parts of the public perhaps even more than within the elite. We are spitting out the presumptions and arrogance behind Savile and company.
Another political leader who acts like a celebrity; another leader with a ruthless devotion to his own advancement and little or no interest in the substance of politics; another political leader who spends his time making jokes, and let’s not even go into the sexual side of the story. It’s an unpleasant parallel, and I’m less sanguine about what it tells us than Barnett appears to be. If “this isn’t Italy” because of OpenDemocracy and the Guardian, Italy isn’t Italy either: there was ‘growing resistance’ to Berlusconi when he first came to power – in 1994 – and it’s been growing ever since. The trouble is, for every voter who’s genuinely appalled at the tax-dodging, the bunga bunga, the demonisation of the Left and the awful jokes, there’s another who thinks it’s all a bit of a laugh and Silvio’s a sly dog for getting away with it. And, in a democracy, you don’t need to get all the voters on your side; realistically, you don’t even need half. Barnett’s overestimation of the British public reminds me of Leonardo Sciascia’s comments on the Italian Communist Party’s attempts, in the 1970s, to evoke a ‘sense of the State’ in the ruling Christian Democratic party.
Neither [Aldo] Moro nor the party he presided over had ever had a ‘sense of the State’. The idea of the State … had probably only crossed Aldo Moro’s mind in his youth [i.e. under Fascism] … what has attracted and continues to attract at least a third of the Italian electorate to the party of Christian Democracy is precisely the absence in that party – an attractive and reassuring absence – of an idea of the State
Berlusconi offered an “attractive and reassuring absence” on a much larger scale – an absence of morality and seriousness, as well as ethics and political substance – but the approach is basically the same. Ego and cynicism, worn blatantly enough, can take you a very long way; it’s part of the deal we make with the godlike figures onto whom we project our powerlessness and compliance.
So there’s a ‘we’ watching the screens and harbouring dreams of power without responsibility – and there’s a ‘we’ who are “spitting out the presumptions and arrogance” and generally not taking it any more. I think they both exist, but I’m afraid I wouldn’t back the second against the first in a fight. O’Hagan evokes another ‘we’, silent and complicit:
And no one said, not out loud: ‘What’s wrong with that man? Why is he going on like that? What is he up to?’ He was an entertainer and that’s thought to be special. A more honest society brings its victims to the Colosseum and cheers. We agreed to find it OK when our most famous comedians were clearly not OK.
No one said… anything? Up to a point, Lord Copper.
On Have I Got News For You, Ross Noble and Ian Hislop describe Savile as a disgusting sexual predator.
Widely-circulated fake Have I Got News For You transcript refers to Jimmy Savile having sex with twelve-year-olds.
Val McDermid publishes The Wire In The Blood, featuring the character of “Jacko Vance”, a rapist and murderer.
Vance, a former athlete, hung about hospitals and toured towns in a show called Vance’s Visits – similar to the Savile’s Travels radio show.
Val, 57, said: “People often asked me where I had got the inspiration for the character. They never guessed it was Savile. For a start, Jacko is handsome and charming. I assume Savile didn’t recognise himself in that description.”
Val, from Fife, encountered Savile as a young reporter in 1977. She said: “He was a deeply unpleasant man. He was all smiles and laughter for the audience but as soon as we were alone, he was different. Savile was very much in the front of my mind when I was creating Jacko.”
Irvine Welsh publishes Ecstasy, featuring the character of Freddy Royle, a necrophiliac.
Ecstasy is a collection of three short narratives; in the first, “Lorraine Goes to Livingston”, Freddy Royle was a chat-show host and “distinguished friend” at St Hubbin’s Hospital.
In one passage, Welsh writes: “The thing was, Freddy brought millions of pounds into the place with his fund-raising activities. This brought kudos to the trustees, and made St Hubbin’s Hospital a flagship for the arm’s-length trusts from the NHS. All they had to do was keep schtumm and indulge Sir Freddy with the odd body.”
On Boxing Day, Chris Morris announces Jimmy Savile’s death [WAV] on Radio 1.
Jimmy Savile drops dead at the Stoke Mandeville Boxing Day bash – but the patients are far from mourning.
[Male voice]: “The majority, if not all of them, are extremely relieved that he’s now dead, although I suspect that some of them will be sorry that he didn’t suffer a great deal more.”
Lynn Barber interviews Jimmy Savile: I was nervous when I told him: “What people say is that you like little girls.” Savile replies by denying that under-age girls are interested in him:
“A lot of disc jockeys make the mistake of thinking that they’re sex symbols and then they get a rude awakening. But I always realised that I was a service industry. Like, because I knew Cliff [Richard] before he’d even made a record, all the Cliff fans would bust a gut to meet me, so that I could tell them stories about their idol. But if I’d said, ‘Come round, so that I can tell you stories about me’ or ‘Come round, so that you can fall into my arms’ they’d have said: ‘What! On yer bike!’ But because reporters don’t understand the nuances of all that, they say, ‘A-ha’.”
The “newly enknighted” Savile meets Prince Charles, as seen by Private Eye‘s “Heir of Sorrows”:
‘Fascinating. You really must meet Diana.’
Sir James looked momentarily puzzled. ‘Is that your daughter, Your Maj?’
Charles shook his head. ‘No, no, my wife.’
‘No thank you very much, Your Maj. Bit old for me. That’s not Jim’s scene at all.’
What could he mean? Sometimes these holy men spoke in riddles.
Jerry Sadowitz calls Jimmy Savile a paedophile. (In fairness, giving Jerry Sadowitz credit for accurate muck-raking is a bit like crediting Nostradamus for accurate prophecies – you can find something if you look hard enough, but accuracy isn’t really what the act’s about.)
“He knows the answers to life’s great mysteries,
He knows what makes Jim Savile tick.”
– Yeah Yeah Noh, “It’s easier to suck than sing”
Is that no one saying anything, or just no one saying anything “out loud”? And if it’s the latter, what would have constituted saying something out loud – publishing and being damned? Let’s face it, Savile wouldn’t just have seen you in court, he’d have seen you in the bankruptcy court.
I think what’s going on here is that a sense of collective complicity is being stretched to the point where it becomes perversely comforting. If we are all to blame, then we can do something about it; at the very least we can do better next time, and try to stop there being a next time. It’s a reassuring thought: never again! ¡no pasarán!
But what if part of the problem is that there is no “we”? What if some of us were spitting out the presumptions and the arrogance all along – or at least having very bad feelings about them – but our revulsion could only be articulated in undertones and behind closed doors? We might not immediately think of Savile as a powerful man – he didn’t make anything happen on a national scale, or on any but a very local scale – but when it came to his own affairs he was very powerful indeed, in several different ways. As well as being rich, famous and well-connected, he was charismatic, generally well-liked, personally forceful and – in his prime – physically strong; he wasn’t a good man to say No to. Once someone has acquired that kind of power, it doesn’t really matter what “we” think about him (and it usually is “him”); whether we view what he does with indulgent approval or with physical revulsion, he’s still going to get away with it. The “we” of O’Hagan’s diffuse culture of star-worshipping quasi-paedophilia is doing double duty, standing in for the “we” who are able to hold individually powerful people to account. And that “we” – that collective articulation of a popular sense of what’s right and what’s wrong – didn’t exist in the 1960s and doesn’t exist now; tabloid bouts of morality can perhaps be understood as a morbid symptom of its absence, fuelled by bad conscience (I never wanted him to get away with that!).
Child abuse is now a national obsession, but in 1963 it scarcely came up as a subject of public concern. That doesn’t mean it was fine back then and we were all better off, but it allows one to see how much the public understanding of what isn’t all right, or more or less all right, has changed. There have always been genuine causes for concern, but overall, nowadays there is an unmistakeable lack of proportion in the way we talk about the threat posed to children by adults. (It’s hard not to imagine that the situation has to do with a general estrangement from the notion of a reliable community.)
I think the first part of this is right, and for a much broader timespan than 1963 (which seems to have got into the argument here by way of the Larkin poem). The last, parenthetical comment is pointing to something important too. There are stars, there are individual purchasers or fans, and in between – what? What’s missing seems to be some kind of sense of society as a mechanism – or many different mechanisms – of feedback and accountability. O’Hagan comes close to arguing that Savile and people like him were acting in all our names. Perhaps it’s closer to the truth to say that some of us thought it was all a bit of a laugh – not so much “in my name” as “in my dreams”. As for the rest of us, we might have thought “not in my name”, but we had no way of saying it as a collectivity – and still, perhaps, don’t.